MISSIO

By Matt Collar, AllMusic

Austin, Texas’ MISSIO is an electronic-duo known for their dark, emotive pop. Formed in 2014, MISSIO features singer/songwriter Matthew Brue and producer/instrumentalist David Butler. Initially, the project began as an outlet for Brue’s solo material. However, after he invited Butler to collaborate on a few songs, they decided to move forward together. Recording in Butler’s converted garage/home studio, they began sculpting their brooding, anthemic sound; releasing such tracks as “I Don’t Even Care About You,” “I Run to You,” and “Can I Exist?” By the end of 2015, they had made their debut at SXSW and garnered support slots alongside acts like SAFIA, K. Flay, and others. In 2017, they delivered the single “Middle Fingers” and signed a recording contract with RCA Records.

This biography originally appeared on AllMusic.

Source: http://www.allmusic.com/artist/missio-mn0003455025/biography

Photo: https://www.rcarecords.com/artist/missio/

Video: www.youtube.com

24HRS

By Andy Kellman, AllMusic

Oakland-born, Atlanta-based singer/rapper Robert Davis first recorded as Rolls Royce Rizzy, pinged the radar of a certain luxury automobile manufacturer, and subsequently altered his name to Royce Rizzy. Davis settled on 24hrs following a brief affiliation with Jermaine Dupri’s So So Def label. A more R&B-oriented outlet for Davis — with pitch-altered, bottom-heavy slow jams the m.o., placing him somewhere between the-Dream and frequent collaborator Ty Dolla $ign — 24hrs debuted in 2016 with multiple bundles of SoundCloud uploads and Open, an EP released commercially through Private Club. The eight-track follow-up Night Shift followed in 2017, at which point Davis had also racked up outside collaborations with the likes of MadeinTYO (his brother), Ty, G-Eazy, and Blackbear.

This biography originally appeared on AllMusic

 

Source: http://www.allmusic.com/artist/24hrs-mn0003535210/biography

Photo: http://artisticmanifesto.com/2016/10/28/24hrs-drops-explicit-video-for-stylist/

Video: www.youtube.com

NAV

By MusicLyrics

Navraj Singh Goraya, known by his stage name Nav, is a Canadian hip-hop artist and producer. He is known for his friendship and collaboration with The Weekend.

Career Beginnings

Nav was born in 1989 in Rexdale, Ontario. He pursued music in 2015, through posting his songs on SoundCloud. Notably, Take Me Simple, gained some internet attention. Furthermore, he co-produced and co-wrote Drake’s Back to Black, a diss of Meek Mill. In 2016, Nav became famous, after Kylie Jenner promoted his song Myself, on her Snapchat. Moreover, his songs Take Me Simple and The Man were broadcasted on Beats 1, OVO Sound’s radio (owned by Drake).

Breakthrough

In late 2016, Nav was featured on Travis Scott’s hit Beibs in the Trap. The single received a gold certification and peaked at number 90 the Hot 100 chart. Finally, in February 2017, Nav released his self-titled debut mixtape, through XO and Republic Records. The lead single, Some Way, with The Weekend, topped the Bubbling Under Hot 100 chart and reached number 38 on the R&B/Hip-Hop Songs chart. The song is possibly related to Nas’ feud with Justin Bieber. Additionally, the song received a music video in March. Myself was shortly released as the second single. Most recently, a music video for Good for It came out, containing scenes with Naz on The Weekend’s tour.

This article originally appeared on MusicLyrics.

 

Source: https://musiclyrics.com/artist/nav/

Photo: https://www.pastemagazine.com/articles/2017/04/photos-lady-gaga-the-weeknd-the-head-and-the-heart.html

Video: www.youtube.com

J.I.D

By Rich Wilson, AllMusic

Born and raised in East Atlanta, J.I.D — a name adopted and adapted from what his grandmother called him as a jittery child — first appeared on the Atlanta hip-hop scene with his debut EP, Dicaprio, in 2015. Growing up, J.I.D’s first connection with music was through his parents’ collection of classic funk and soul LPs. After a stint at Hampton University playing football, J.I.D also hooked up with fellow MCs as part of the Spillage Village collective. By 2012, he had dropped out of college to focus on music, and in 2014 he headed out on what would be a productive tour with EarthGang, Bas, and Ab-Soul. Touring allowed J.I.D to craft his skills, and a year later he recorded and dropped the Dicaprio EP, which saw him team up with a host of producers, as well as EarthGang. While keen to distance himself from the generic abrasive trap sound that had dominated the Atlanta scene, J.I.D wanted to deliver something that was more than just about a beat, and instead focused his time and effort on lyrics as well. In 2016, J.I.D, alongside the rest of the Spillage Village crew, released the album Bears Like This Too Much, which saw the rapper honing his unique delivery and inspired lyrics. In 2017, he announced that he had signed to J. Cole’s Dreamville label (a connection made with the rapper via J.I.D’s part in the 2014 tour with Bas and Cole’s friend and producer Cedric Brown), which released the single Never and full-length The Never Story at the beginning of the year.

This biography originally appeared on AllMusic.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Source: http://www.allmusic.com/artist/jid-mn0003368290/biography

Photo: http://pigeonsandplanes.com/in-depth/2017/03/jid-interview-dreamville

Video: www.youtube.com JIDVEVO

SAHBABII: ‘PULL UP WIT AH STICK’ MC ON HAPPY BEATS, WARNERS DEAL, BIRD NOISE AD-LIBS

By Elias Leight, RollingStone

“There’s this little map on ‘Mario Kart,’ this rainbow map and this little beach map, and I like to be in that mindset.”

Atlanta’s SahBabii landed a major label deal on the strength of last year’s “Pull Up Wit Ah Stick,” a bait-and-switch where cheerful, fluffy synthesizers give way to a hard-bitten, ruthlessly repetitive hook. The video for the single has accumulated more than 14 million views on YouTube, while the track has earned remixes from a stars like T-Pain, Wiz Khalifa and Fetty Wap. Now “Pull Up” is beginning to pick up steam on the national airwaves.

Warner Bros will re-release SahBabii’s Sandas mixtape on June 9th. “Pull Up Wit Ah Stick” is the most direct song on Sandas; the rest is at once brighter and more diffuse. Rolling Stone spoke with the rapper about the success of “Pull Up,” his passion for wildlife and his recent internet spat with Offset of Migos.

When did you start rapping?
In 2010 when I first had moved to Atlanta. My brother had been doing music for 10 years. When I first started, I wasn’t even really listening to music. Then I started listening to local music. Rich Kidz, Young Thug, all that. They were all coming up in Atlanta. Thug remind me of [Lil] Wayne; he got that different sound – it’s melodic, not just that regular, repetitive bullcrap. We was bumping that all summer when we was younger.

I did [rapping] just for the fame when I was young; just to be known for it and that type of stuff. I started taking it seriously in 2014 because I wanted to be rich. I just wanted to be rich. And I started liking making music. When I started, I wasn’t doing it for money – I wanted to hear myself on the beat and listen to my own music. At first I was making music just for me to listen to. Then I said, This can be a career and I can get rich off this – ’cause this sounds good. So in 2014, I got to going hard.

You said you had almost quit before Sandas became successful?
The music wasn’t popping off fast. I was making good sounding music, but it wasn’t being heard, and I didn’t have the funds to keep pushing it. I was getting frustrated, stressed out.

What would you have done if you left rapping?
I wasn’t going back to a job. I was probably going to try to get off into cartoons or making video games – which I’mma still do. I definitely wasn’t going to get no job. Hell nah.

Do you think it’s hard to stand out in Atlanta where there are so many successful rappers?
I just do me. I know there’s a lot of talent out here. But I work hard, do me, make sure I’m comfortable with myself. I just look at myself as in a whole different lane and another world. I’m in SahBabii world. I’m not putting on a persona or a fake image. I’m a very colorful person, I love animals and shit – there’s a lot of references to animals in my music. I like playing video games. You can see the fun type of shit in my music.

Where did you get your love for animals?
Shit, I been liking animals. I used to watch a lot of Animal Planet and Discovery Channel. I had three pets; I had fish before. I used to feed the birds breadcrumbs. I’ve been loving animals. I just started putting them in. I’m getting older, getting comfortable with myself – I just say, in my music, fuck it, man. I’m gonna do me on this shit. I just stay true to me. I ain’t never trapped before, never did that. I rap about the stuff that I have been through.

Do you distinguish between rapping and singing?
It don’t really matter. I vibe off the beat. The ad-libs and melodies just talk to me.

And you just find beats online?
I used to steal beats; I was the king of that shit. I was stealing beats off YouTube, SoundCloud. I never thought this was going to be a career so I just got beats off of there. But then it popped off and I had to buy these beats, so I’m moving forward like that. Or I used to go on SoundClick and hit “rap instrumentals” and go through all the beats. You just click – I used to go through 2,000 beats a day, straight clicking. I could tell in two seconds if I’m going to like the beat. Just steady clicking all day.

What would you hear in two seconds that would grab you?
I don’t like that dark sound. I like my beats to sound happy and uplifting, but still with a lot of bass in there. If you heard “Marsupial Superstars” – there’s this little map on Mario Kart, this rainbow map and this little beach map, and I like to be in that mindset. When people listen to it, [I want them to be like], “I’m going to get on the Wii today and play Mario Kart.”

Are you always in that rainbow map space mentally or do you have to work to get there?
I’m always in that mindset. Everything is fun to me. I live in fun world.

You recorded most of Sandas in your bedroom?
No, in my brother’s bedroom downstairs. I never went to any big studio; I couldn’t afford that stuff. I recorded in my brother’s bedroom, and I’m still doing that. I got some little speakers in there. When you got your own studio, you can really find yourself. If I was to go in a big studio – the bird ad-libs wouldn’t be on “Pull Up Wit Ah Stick.” The weird noises I’m making on “Marsupial Superstars” wouldn’t be there. People wouldn’t understand, and they look at me like I’m crazy. Like, “What the fuck is this nigga doing making all these weird noises? Probably just wasting time.” But that stuff really makes the songs. They would just look at me like, What’s wrong with him?

This is where it all came from: I can’t switch up on the bedroom. When I have to record in the big studio, that’s when I do it, but I like T3 to be engineering it. That’s my big brother. We’ve been doing music since I was younger, so he already knows what effects I like. He did all my videos back then, the artwork, engineered the whole project. He’s amazing. You don’t need a major producer. It don’t take all that.

Did you think you had a hit when you recorded “Pull Up Wit Ah Stick”?
I like the instruments on that. I liked it when I finished, but then I grew out of it. It was already old to me, and I thought it was too simple, me just saying, “pull up wit ah stick.” But people loved it. And it’s about the people.

Why do you think that song has connected?
It’s a fun-sounding song. You got the club vibe with the bass. You got even little kids dancing to this. It’s them happy type of instruments.

The video for “Pull Up Wit Ah Stick” got a lot of attention due to all the guns in it.
Ain’t nobody even get a papercut out there. We just holding guns – soldiers and police officers hold guns all the time. We just respecting our second amendment. In Georgia, it’s legal to have guns down here. Nobody got slapped, nobody got punched, nobody got a papercut, nobody got cut by a pencil, nothing.

Have you heard the T-Pain and Fetty Wap versions of “Pull Up Wit Ah Stick”?
I heard it. That feels good. You know T-Pain – he’s a legend. I would’ve never thought he would’ve remixed my song. I used to listen to him when I was younger. He started the AutoTune.

Is the Drake remix that you’ve talked about still in the works?
He told me he was going to do it, but I know he’s a busy man doing what he gotta do, so I ain’t really stressin’ it. I’m just doing me.

How did you end up connecting with Warner?
They was the last ones trying to sign me. I had, like, 16 labels trying to sign me. Warner came in last and won. There’s not really that many superstars in their urban department. They just started rebuilding their urban department. They gave their artists to Atlantic. A lot of people was telling me, if I go over to a label with a big artist, I have to sit behind them and the big artist will be a priority over me. [Warner] was telling me I don’t have to sit behind anyone. They told me I could be the Lebron and the Michael Jordan over there. They treat me like a priority over there.

You and Offset have been throwing jabs back and forth on social media lately. What’s going on between you two?
I’m chilling man. I ain’t wanna keep talking about that or doing videos. I got caught up in the clown-ism with that. I got caught up into that. That’s not even how I carry myself, doing all that on social media. I want to stay positive. I had said I would never do something like that. So I’m ashamed of myself for even doing something like that. I’m going back to the positive place. Focusing on my music – I don’t care about that negative stuff. I’ve got a lot of people depending on me, man. I got a family of six of us. I’ve got cousins and all that; there’s like 20 of us staying in this one house. I got a lot of people depending on me. I gotta stay focused.

This article originally appeared on RollingStone.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Source: http://www.rollingstone.com/music/features/sahbabii-on-happy-beats-and-bird-noise-ad-libs-w485900

Photo: http://musiconthedot.com/5-facts-sahbabii/

KODIE SHANE

By Famous Birthdays

About

Rapper and only female member of the group the Sailing Team who became known for her spotlight verse on their single “All In.” She has had success as a solo artist with her debut EP Little Rocket and her standout single “Losing Service.”

Before Fame

She grew up around music and made the decision to pursue it at the age of 13.

Trivia

Her song “Hold Up” was featured by Fact magazine as one of the 10 rap and R&B tracks you need to hear this month in September 2016.

Family Life

She was born in Atlanta, Georgia and she moved to Chicago, Illinois when she was a toddler. Her grandfather named her after a cowboy.

Associated With

She collaborated with Lil Uzi Vert and Lil Yatchy on her song “Hold Up.”

This article originally appeared on Famous Birthdays.

Source: https://www.famousbirthdays.com/people/kodi-shane.html

Photo: https://bossip.com/1385498/interview-with-the-sailing-teams-kodie-shane/

Video: www.youtube.com KodieShaneVEVO

 

SMINO: MEET THE MIDWEST MC BEHIND ONE OF THE SUMMER’S COOLEST LOVE SONGS

By Timmhotep Aku, RollingStone

The “Anita” crooner talks his ‘Blkswn’ LP and how the diaspora fuels his funk

Only a few dates into the Swanita tour, he hurt himself in an impromptu mosh pit. Injured yet unfazed, the rapper born Chris Smith Jr. will perform on crutches for the remainder of the tour. The circumstances haven’t affected his spirits or his high energy performance. On stage Smino is animated, compelling and visibly ecstatic. He attributes this gift for performing – as well as his overall approach to songwriting ­­– to an upbringing in church “Like, the ability for me to find a melody or a harmony or like move a concert? It’s just me seeing how churches work,” he says.

The day after an explosive performance ­– a sold-out show at New York’s Bowery Ballroom – Smino is basking in the afterglow in an Airbnb’d duplex on Manhattan’s Midtown East. Sporting a do-rag, T-shirt and sweatpants, Smino is laying back on a leather sectional flanked by his band and touring party, who are polishing off some Popeye’s and sorting the small vacuum-packed bags of weed that have just been delivered. Surrounded by some of Chicago’s finest young musicians (producer Monte Booker; singer, rapper, and video director Jean Deaux; multi-instrumentalist Phoelix), Smino tells Rolling Stone about Blkswn, how the diaspora fuels his funk and how to write a love song in 2017.

What are the origins of Blkswn?
My album was called Zero Fatigue at first—

Which is your crew’s name.
Which is another reason I didn’t name the album Zero Fatigue. Zero Fatigue is much bigger than one album, it’s some continuous shit for us. I did the Red Bull Sound Select thing where they put a producer with an artist and Sango was my produced that they [put me with]. I requested the nigga Sango ’cause I always liked his beats.

Y’all did that joint, “Lemon Pon’ Goose” together. Do you, Jean or Sango have a Caribbean backgrounds?
So look, Sango spends a lot of time traveling. He love Brazil and he’s just really into all that. And he told me his grandfather brought him up on African drums like they used to just play [and] play till they hands get tired and so I came up learning African drums as well. I don’t know which region of Africa I’m from or none of that. I know how to play bongos, congas, all kinds of auxiliary percussion instruments and stuff like that so that’s just in me and she’s [turns to Jean Deaux] How do you say it? Afro Latina. So it just was me understanding that aspect of the music and being inspired by it and then Sango just knowing to do. We was in the studio, she was like, “Me ah go and steal ya heart” and he was like, “Me ah go and steal ya ‘art.” It was just a collective effort of us just studying some shit that was already pretty much in us. Just trying to bring that out. That’s something we do a lot as black people these days anyway.

It’s some diaspora stuff. Now that we’ve moved into this global phase of having easy access to music from everywhere, we’re getting in touch with all of this stuff. Like if you listen to Drake or the Wale record or a lot of stuff that’s happening with black people in London or Nigeria or the Caribbean …
Everything is pretty much mixed up right now, but I fuck with it, bro. I’m a drummer, so my first love in life is the drum and my favorite thing that I learned how to do is play a 3/2 clave pattern but put in on like: [mimics the sounds with his mouth]. Like I can’t do it right now, my foot fucked up, but after I learned that so much shit got unlocked. I’m like damn, my body feel free! Like I’m not as stiff as I was. Shit like that helped my rap patterns and even with “Lemon Pon’ Goose” I was able to do [patterns] like [flowing rapidly] “I’m feelin’ amazing/I’m gettin’ acquainted with shawty.” Some Sean Paul shit! Actually the same Sean Paul flow.

So, why is it called Blkswn?
I was just in the studio with Sango making the song. I only said the words “black swan” in the song once: “I ain’t never ain’t in no rush, I ain’t no Russian, I’m a black swan.” If you listen to Blkswn I’m coming to grips with a lot of shit. It’s a lot of shit I done figured out and I’m 25 now. So it’s a lot of shit that I done figured out, a lot of shit that I done been through, fuckin’ failed at and like realized this is what I’m supposed to be doin’ at the end of it. And it’s always been [music]. I just wrote this album as honestly as I could. I didn’t tell any stories that weren’t true to me. I didn’t do any storytelling, there wasn’t anything but my own truths. This whole album is just straight up day-by-day shit that I’ve experienced. Blkswn is going from feeling alienated on [2015 EP] Blkjptr to like becoming this muhfuckin’ black swan and being comfortable in that shit.

You grew up in the church, how do your parents feel about you making secular music?
They proud as hell of me. My parents ain’t prudes, man. There’s a difference between being in the church, being religious and having faith. I don’t hold my faith to another person’s standards – anybody’s. One thing I learned in church is your relationship with God is personal. I make the most honest music I can to myself. I don’t try to appease anyone. I just make the most honest shit I can. My music is positive too. The most crazy shit i talk about is gettin’ pussy but [sucks teeth] everybody get pussy. That’s nothin’ major, that’s our biology.

There aren’t too many love songs in rap these days, can you talk about “Anita”?
I just got a lot of love around me. I get a lot of love from women and I got a lot of love for women. Women go through a lot of shit, bro. My mama been through a lot of shit. Every woman I’ve ever known been through hella more shit than me. I don’t know, bruh, it’s hard for me to make a song [that doesn’t express that].

That’s refreshing.
I don’t understand how these niggas be really hate women out here. I think misogyny has a lot to do with overthinking your part as a man. You seen Baby Boy? It’s this attitude like, “I’m your man and I do for you, so I can do whatever the fuck I want.” I have to stop myself from that [kind of thinking] all the time. I’m not above this. I’m definitely a misogynist [at times], definitely guilty of that.

You grew up in a society that’s sexist.
But I also grew up in a house with four big sisters and my mama. And my dad with my mama. I’m lucky, I understand some shit. That’s why I don’t be on niggas’ heads. Y’all didn’t come up like me, I get it. I just get some shit y’all don’t get right now. If y’all willing to listen y’all would prolly get more pussy. It’s just a lot of shit that we discredit women for and we don’t understand the amount of shit they have to deal with.

This article originally appeared on RollingStone.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Source: http://www.rollingstone.com/music/features/smino-meet-the-midwest-mc-behind-anita-w483228

Photo: http://www.suspendmag.com/blog/smino-lyric-theater

Video: www.youtube.com

NONAME

By Neil Z. Yeung, AllMusic

Chicago rapper and poet Noname (formerly Noname Gypsy) brings an observant eye and quiet patience to a soulful R&B-meets-hip-hop style influenced by Lauryn Hill, Andre 3000, and Buddy Guy. Born Fatimah Warner in Chicago’s Bronzeville neighborhood, Noname frequented open-mike nights and slam poetry competitions when she wasn’t volunteering with the local YOUMedia arts program. Befriending fellow Chicagoan Chance the Rapper proved fortuitous: she appeared on “Lost” from Chance’s Acid Rap mixtape in 2013, helping her gain a wider audience. She guested on Mick Jenkins’ The Waters the following year, before announcing her own project. Before her debut, she contributed to Mont Jake’s Shadow EP and “Finish Line/Drown” on Chance’s 2016 hit Coloring Book. Three years in the making, her first album, Telefone, arrived in the summer of 2016. The coming-of-age blend of soul vocals, atmospheric textures, and Noname’s spoken-word featured production by Chance associate Cam O’bi, Phoelix, Saba, Monte Booker, and Them People.

This article originally appeared on AllMusic.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Source: http://www.allmusic.com/artist/noname-mn0003511314/biography

Photo: http://www.clashmusic.com/live/live-gallery-mick-jenkins-noname-village-underground-london

Video: www.youtube.com

NICK GRANT

By Neil Z. Yeung, AllMusic

Channeling the spirits of his hip-hop forebears, Walterboro, South Carolina rapper Nick Grant carried the old school into the 2010s with his gift for storytelling and tight delivery. Like contemporaries Vince Staples, Avenue, and Denzel Curry, Grant opted to focus on socially conscious rhymes inspired by real-life observations and packed verses buoyed by production that favored golden age-style sampling over trap boom. Inspired by Biggie Smalls, 2Pac, OutKast, Jay-Z, Rakim, and Nas, Grant developed his respect for rap history at a young age, rhyming with friends in middle school and improving his skills into high school. Backed by Grand Hustle Records, his 2016 mixtape ’88 (Culture Republic) featured his dense bars and classic jazz and R&B samples, as well as guest appearances by Killer Mike, Big K.R.I.T., and BJ the Chicago Kid. Later that year, he released a four-song EP inspired by Solange’s critically acclaimed album, which he called A Seat at the Table Plus One. In early 2017, Grant issued his official debut full-length, Return of the Cool. With increased bravado and lyrical prowess, Return once again featured BJ the Chicago Kid, as well as Ricco Barrino, Dominic Gordon, and WatchTheDuck. The album broke into the Top 30 of the R&B/Hip-Hop Albums chart.

This article originally appeared on AllMusic.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Source: http://www.allmusic.com/artist/nick-grant-mn0003592833/biography

Photo: http://www.xxlmag.com/news/2016/02/the-break-presents-nick-grant/

Video: www.youtube.com NickGrantMusicVEVO