West Coast duo Audio Push are about to embark on the "Simply Nothing" tour with Wale, but first, they debut their new song, "Heavy," featuring OG Maco.
Showing posts with label Turn Up. Show all posts
Showing posts with label Turn Up. Show all posts
Friday, January 9, 2015
Audio Push ft OG Maco | Heavy
West Coast duo Audio Push are about to embark on the "Simply Nothing" tour with Wale, but first, they debut their new song, "Heavy," featuring OG Maco.
Monday, December 29, 2014
Rae Sremmurd | Sremm Life | Album Stream
After breaking out with their hit single "No Flex Zone" and following suit with the equally popular "No Type," young Mississippi duo Rae Sremmurd are ready to release their debut album, Sremm Life, on January 6th.
Before the date arrives, iTunes Radio is providing fans with an early listen to the 11-track album – which includes the Nicki Minaj and Young Thug-assisted "Throw $um Mo" and "YNO" with Big Sean.
01 Lit Like Bic
02 Unlock the Swag f. Jace (of Two-9)
03 No Flex Zone
04 My X
05 This Could Be Us
06 Come Get Her
07 Up Like Trump
08 Throw Sum Mo f. Nicki Minaj & Young Thug
09 Yno f. Big Sean
10 No Type
11 Safe Sex Pay Checks
Tuesday, December 16, 2014
Rae Sremmurd | Up Like Trump | Video
Music video by Rae Sremmurd performing Up Like Trump. (C) 2014 Eardruma/Interscope Records
The track will appear on the duo's upcoming debut, Sremm Life, arriving free on January 6.
Tuesday, November 11, 2014
Alo Wala - Timbuktu (feat. The Clerk) | Cityboy
A monster of a song, “Timbuktu” by rising global bass rapper / group Alo Wala melds into all sorts of moods–calm, jumpy, even forlorn. Opening with a small percussive swirl of taps, jangles, and pings, the song suddenly stops: “Here we go/See me flow/’Round and ’round I go,” the project’s Chicago-born, Copenhagen-based vocalist Shivani Ahlowalia (aka Alo Wala) starts in her candied voice, hand claps and drum bangs circling under her. Strings and a cascade of muffled electronics then crash hard as she continues, “I rolled through Timbuktu a long long time ago, I got my people and fresh heat no matter where I go.”
As it turns out, Ahlowalia spent time in a different part of West Africa: Guinea-Bissau. It was there that she co-founded the country’s first quality recording studio. Prior to the professional Cobiana studio being built, Bissau-Guinean artists would need to travel to Lisbon or Paris for quality recording sessions, Ahlowalia says. “I worked very hard in particular on a project called Hip Hop Harmony,” a program that brought her to Senegal, The Gambia, Mali, Mauritania and Morocco, to work with regional unification through hip-hop. After joining with tropical bass group Copia Doble Systema and VJ Mad Es to become a full band, Ahlowalia / Alo Wala toured India earlier this year, and went on to play shows in Morocco (at L’Boulevard Festival– more on this to come on Okayafrica) and Russia. This Monday, the group is set to release their debut EP, Cityboy, which closes with “Timbuktu.” Speaking on her connection to the Malian city the song takes its name from, Ahlowalia explained:
“It’s a common expression to say ‘from here to Timbuktu,’ Timbuktu referring to a place far away, almost intangible or impossible to arrive to. So what happens when you’ve been there to the impossible place so very far away? Where do you go from there? That’s what the tune is about. For me Timbuktu represents the turning point, where the journey becomes less about a destination, and more about knowing one’s self; the journey within.”
Listen to “Timbuktu” & her other releases below. Alo Wala’s Cityboy is out November 10th via Enchufada.
OUT NOW ON ALL MAJOR DIGITAL STORES:
Beatport - bit.ly/cityboybeatport
Junodownload - bit.ly/cityboyjuno
Boomkat - bit.ly/cityboyboomkat
Monday, October 27, 2014
Baauer Ft. AlunaGeorge & Rae Sremmurd | One Touch
Pre-order ep, get 'One Touch' right now.
iTunes → smarturl.it/bbaauer
Bleep → smarturl.it/bbaauer-bleep
Thursday, October 9, 2014
Wednesday, October 8, 2014
Pugs Atomz | Papya Juice Feat Anton Genius
Song tittle: Papya Juice
Artist :Pugs Atomz
Featuring: Anton Genius
Producer: Anton Genius
website: www.pugsatomz.com
Pugs Atomz returns with frequent collaborator Anton Genius for "Papya Juice" From the infectious hook to the hard stripped down production this track kicks things off the right way for Pugs Atomz to actually freestyle his way through this late night escapade with her, Enjoy!!!
Saturday, September 20, 2014
PARKER GOES TO KOREA
Every year i visit Korea at least once and seeing my friends in the art, fashion and music scene grow out there is always inspiring!
Special thanks to Kyuhee, Adidas Seoul, iise, AOMG, rm360, Cakeshop and Swings!
Twitter: http://www.twitter.com/dumbfoundead
Instagram: http://www.instagram.com/dumbfoundead
PEOPLE FEATURED:
-Kyuhee http://www.instagram.com/flosseveryday
-DJ YTst http://www.soundcloud.com/djytst
-Snacky Chan http://www.twitter.com/snackychan
-Mike Gao http://www.twitter.com/mikegao
-Kevin and TK of iise http://www.ii-se.co
-360 Sounds http://www.twitter.com/360sounds
-Cakeshop http://www.twitter.com/cakeshopseoul
-Swings http://www.twitter.com/itsjustswings
SONGS FEATURED:
-Demicat - "Low Orbit"
-Esta - “Luna”
-T.O.P - “Doom Dada" (YTst x J.sin Remix “Dooom”)
-IAMNOBODI - “When You Know It”
-Black Nut “100”
Friday, September 12, 2014
Mighty Mark & TT The Artist Boiler Room Baltimore DJ Set + Live PA
Alongside a bill of Baltimore Club legends, Mighty Mark & TT The Artist showed us how the genre has travelled from pure strength to strength into the present day.
Saturday, August 9, 2014
Vic Mensa | Wimme Nah | Produced by Kaytranada
]
Vic Mensa has let loose a Kaytranada-produced track dubbed "Wimme Nah." Over icy synths and thumping percussion, the 21-year-old Chicago rapper takes some time to revel in the current success and support he's earned, as well as do a bit of the boasting and bragging that comes with being a buzzing rapper who is starting to soar up the ranks. From being jobless and not even able to have his own car to "paid vacations," the Savemoney emcee has come a long way, and it'll be interesting to see where his career will end up by the time the year concludes. You can listen to "Wimme Nah" below.
Thursday, July 24, 2014
M.I.A. | Gold
Dutch DJ duo the Partysquad contributed production to M.I.A.’s Matangi, and now they’ve aligned again for a song on The Partysquad Summer Mixtape 2014. It’s a typically noisy M.I.A. track that wouldn’t have sounded out of place on Kala, with a beat that remains spacious despite busy drum programming and various agitated blasts of sound. It almost reminds me of “Turn Down For What,” though the recent radio hit Maya interpolates here is Sage The Gemini’s “Gas Pedal.” Get into it below.
Monday, July 21, 2014
Thursday, June 12, 2014
Saturday, June 7, 2014
Hittz | Lost My Mind | Shot by @DGainzBeats
Sometimes I feel like this, so I can relate...
Hittz | Lost My Mind | Shot by @DGainzBeats
Produced by @BeatsByA
Twitter: @hittz079
Hittz | Lost My Mind | Shot by @DGainzBeats
Produced by @BeatsByA
Twitter: @hittz079
Shon Roka (pronounced Shaun Roca) the DJ also known as Shaun Ortega was born on the west-side of Chicago. He started gaining fame as a bboy in 1991 and later became a member of a well known crew called the BRICKHEADZ. He would perform for such artist and events such as The Roots, KRS One, Immortal Technique, Dougie Fresh, Common, Rhymefest, Cypress Hill, Pharoah Monch, Nas, Diddy, Mariah Carey, Taste of Chicago, Lollapolooza, Looptopia, B96 Summer Bash just to name a few. The BRICKHEADZ also won many breakin' competition nationally and internationally. While Shon Roka was being active as a bboy he was working on his craft of being a DJ.
DJing for w/ Nike, Jordan, Under Armour, Adidas, Vans, Uprise (Chicago) Skateshop for numerous in-stores, sporting events, galleries and corporate outings. Also Shon Roka is a resident DJ post Covid in Chicago at McGee's, Tantrum, Imbibe and Harbee's. While being a DJ, he has been teaching music production and the Art of Skateboarding through Maggie Daley's After School Matters. Also known as Gallery 37.
For more information contact via email.
Tuesday, May 13, 2014
Interview with GoldLink | DC-born proprietor of “future bounce”
GoldLink Might Be the Wildest DMV Rapper Since Wale: “I could start a revolution”
STORY BY: DUNCAN COOPER
GoldLink is a rapper who immediately seems to have carved his own lane—”future bounce” as he somewhat imprecisely calls it, “dream rap” as I even more poorly first conceived it. Basically he’s rapping over pittering dance beats that you can’t always dance to. Born in DC and now based in Virginia, he’s got a weirdness that could make him the biggest DMV rapper since Wale; at the very least, he shares a refreshing left-field newcomer’s confidence to experiment. Download his debut album, The God Complex, and below, read what he has to say about discovering club music, linking up with Soulection and the excitement of not knowing what might happen next.
Where exactly are you from? I was born in DC. I was born in Columbia Hospital, not that that matters… I ended up in Maryland. My apartment burned down and then I lived in Cheverly. My mother wanted better for us, so we ended up moving to Virginia, then my mom got divorced, but I stayed there.
Where are you living now? A few places. Woodbridge is one. Alexandria. It’s aight. There’s not a lot of minorities, so everything’s kinda awkward, but it’s cool. We manage. We stay on the west side, it’s calm and quiet.
I saw you said used to go to Busboys and Poets “on the very low.” What were you like as a teenager? At 17, I was wild. I was really wild. I was really smart for my age, but I thought I knew everything. I was really hardheaded, but I couldn’t control my temper. I was really smart-mouthed. I was the opposite of everything I am now. I was super loud and annoying. I was 17, you know what I’m saying?
Were you recording and putting out music at that time? Not at 17, no. I was just chilling.
That was a few years before Wale started blowing up, and Baltimore Club was having a big moment too. Did you feel that excitement? Even though I was young, I remember it. Wale was cool. You know how you had that friend circle and out of that circle one guy gets everybody hip? I was that kid. So I was like, yo, Wale, you head 100 Miles of Running? I got hip to Baltimore Club music because I took somebody’s CD out of their car and it was a blank CD with nothing on it. I was like, ‘What is all this?’ He was like, ‘Oh, it’s Baltimore club music, all this red light district music.’ I remember I caught that riff. I was young but I was old enough to understand that there was something in the DMV going on.
When you came out, your sound was already really solid. Did that take time? Were you fucking around over Zaytoven beats a few years ago? No, that was the sound. I never crossed over like, trap is cool, I’m going to do this. This is what I started with. I heard Ta-Ku beat two years ago and I thought it was cooler than all the bullshit that was hot. I didn’t care what the fuck was hot. I thought that was cool. I didn’t get it when I was 18 at all, but I just rode with it. That’s why it’s so natural over the beats. I wrote to those beats to challenge myself, not knowing that this is the route I was going to take. I was like, ‘Man, this is weird. I know someone wouldn’t rap over this so I’m going to challenge myself.’ So I just did. I was never really influenced by anybody.
How did you link with the Soulection team? I know you’ve worked with Sango. A friend of ours introduced us through email. We ended up talking and I ended up sending him tracks that I did over previous beats to see if he liked them. He ended up loving them and became a fan and he started sending me beats. From there we built a friendship. We got each others numbers and started talking and we both did Broccoli City Festival. That was two weeks ago and we kicked it there and we kicked it the whole day. It was all through email at first, though.
There’s more in the pipeline coming with him? Yeah, maybe.
I was going to ask you about Broccoli City—Cam’ron and Kelela performed, and you’re kind of like midway between them, to me. I met Kelela. Cam’ron was really protected, so he was kind of in and out. He did his job. But the scene was cool. DMV is such a soul, neo-black city. So people accepted both. There were a lot of people there who liked soul and they liked Kelela and were singing along, and there was a lot of people from the hood because it was in Southeast, and Southeast is like “Oh it’s Cam’ron!”
How do you deal with the not-showing-your-face thing at shows? I did UStreet with a mask at the beginning and then I took it off. I guess it’s like a suspense thing, but I’m really into the music and not into the imaging and I don’t necessarily think we should put an image to the music. I’d rather just make music, and people like that. For performing it’s different, because you actually get to look people in the face—these people that have been following you for months or maybe a few days and you get to look at them. It’s really intimate. I don’t mind showing my face to people because they get to deserve it.
It’s funny that you mention not putting an image to music, because your videos are so striking. The beats are on a spacey, electronic thing, but the videos have a very real street feel. Is that an important tension, for you? I could see why you could say it’s tension, but I don’t think it is. I make it work. Even though the beats are really outlandish and wild, that bounce is really familiar. It’s really different, but it’s the same trap bounce, the same street bounce, the same hip-hop ruggedness, but it’s really new it’s really futuristic sounding. That’s why I feel like people can actually accept it. It’s at a fine line where it’s different, but it’s not so new that it’s annoying or trying too hard. I made it mesh and meet in the middle. Tasteful.
Have labels been reaching out? Is it at that point? I guess it’s at that point. I like what I’m doing and I think it can grow naturally because it’s been growing naturally to this point. I want to see how far it can go naturally. If it makes a complete 100 percent sense, then maybe I’ll consider a label, but right now I’m content with what I’m doing.
What most excites you about what you’re doing right now? Knowing that I don’t know where it’s going to go or how big it could possibly be. The unknown is really exciting. This could be big! It could be on the radio, and it could change what people think. It could change the way the music goes. It could change the BPM. Knowing that I don’t know that makes me excited. Knowing that kids could take this route and add something to it is cool. Knowing that I could start something and start a revolution is exciting. That’s the coolest part about what I’m doing. In my city there’s a lot of hate, but I don’t get any of it at all. I get so much love it almost doesn’t make any sense. Kids are changing up the music and starting to let that image shit go. They’re starting to make better music and clique up more. This is the best era for the DMV.
What else do you want people to know? I want fans to be like, ‘Damn, that nigga tight.’
GoldLink is a rapper who immediately seems to have carved his own lane—”future bounce” as he somewhat imprecisely calls it, “dream rap” as I even more poorly first conceived it. Basically he’s rapping over pittering dance beats that you can’t always dance to. Born in DC and now based in Virginia, he’s got a weirdness that could make him the biggest DMV rapper since Wale; at the very least, he shares a refreshing left-field newcomer’s confidence to experiment. Download his debut album, The God Complex, and below, read what he has to say about discovering club music, linking up with Soulection and the excitement of not knowing what might happen next.
Where exactly are you from? I was born in DC. I was born in Columbia Hospital, not that that matters… I ended up in Maryland. My apartment burned down and then I lived in Cheverly. My mother wanted better for us, so we ended up moving to Virginia, then my mom got divorced, but I stayed there.
Where are you living now? A few places. Woodbridge is one. Alexandria. It’s aight. There’s not a lot of minorities, so everything’s kinda awkward, but it’s cool. We manage. We stay on the west side, it’s calm and quiet.
I saw you said used to go to Busboys and Poets “on the very low.” What were you like as a teenager? At 17, I was wild. I was really wild. I was really smart for my age, but I thought I knew everything. I was really hardheaded, but I couldn’t control my temper. I was really smart-mouthed. I was the opposite of everything I am now. I was super loud and annoying. I was 17, you know what I’m saying?
Were you recording and putting out music at that time? Not at 17, no. I was just chilling.
That was a few years before Wale started blowing up, and Baltimore Club was having a big moment too. Did you feel that excitement? Even though I was young, I remember it. Wale was cool. You know how you had that friend circle and out of that circle one guy gets everybody hip? I was that kid. So I was like, yo, Wale, you head 100 Miles of Running? I got hip to Baltimore Club music because I took somebody’s CD out of their car and it was a blank CD with nothing on it. I was like, ‘What is all this?’ He was like, ‘Oh, it’s Baltimore club music, all this red light district music.’ I remember I caught that riff. I was young but I was old enough to understand that there was something in the DMV going on.
When you came out, your sound was already really solid. Did that take time? Were you fucking around over Zaytoven beats a few years ago? No, that was the sound. I never crossed over like, trap is cool, I’m going to do this. This is what I started with. I heard Ta-Ku beat two years ago and I thought it was cooler than all the bullshit that was hot. I didn’t care what the fuck was hot. I thought that was cool. I didn’t get it when I was 18 at all, but I just rode with it. That’s why it’s so natural over the beats. I wrote to those beats to challenge myself, not knowing that this is the route I was going to take. I was like, ‘Man, this is weird. I know someone wouldn’t rap over this so I’m going to challenge myself.’ So I just did. I was never really influenced by anybody.
How did you link with the Soulection team? I know you’ve worked with Sango. A friend of ours introduced us through email. We ended up talking and I ended up sending him tracks that I did over previous beats to see if he liked them. He ended up loving them and became a fan and he started sending me beats. From there we built a friendship. We got each others numbers and started talking and we both did Broccoli City Festival. That was two weeks ago and we kicked it there and we kicked it the whole day. It was all through email at first, though.
There’s more in the pipeline coming with him? Yeah, maybe.
I was going to ask you about Broccoli City—Cam’ron and Kelela performed, and you’re kind of like midway between them, to me. I met Kelela. Cam’ron was really protected, so he was kind of in and out. He did his job. But the scene was cool. DMV is such a soul, neo-black city. So people accepted both. There were a lot of people there who liked soul and they liked Kelela and were singing along, and there was a lot of people from the hood because it was in Southeast, and Southeast is like “Oh it’s Cam’ron!”
How do you deal with the not-showing-your-face thing at shows? I did UStreet with a mask at the beginning and then I took it off. I guess it’s like a suspense thing, but I’m really into the music and not into the imaging and I don’t necessarily think we should put an image to the music. I’d rather just make music, and people like that. For performing it’s different, because you actually get to look people in the face—these people that have been following you for months or maybe a few days and you get to look at them. It’s really intimate. I don’t mind showing my face to people because they get to deserve it.
It’s funny that you mention not putting an image to music, because your videos are so striking. The beats are on a spacey, electronic thing, but the videos have a very real street feel. Is that an important tension, for you? I could see why you could say it’s tension, but I don’t think it is. I make it work. Even though the beats are really outlandish and wild, that bounce is really familiar. It’s really different, but it’s the same trap bounce, the same street bounce, the same hip-hop ruggedness, but it’s really new it’s really futuristic sounding. That’s why I feel like people can actually accept it. It’s at a fine line where it’s different, but it’s not so new that it’s annoying or trying too hard. I made it mesh and meet in the middle. Tasteful.
Have labels been reaching out? Is it at that point? I guess it’s at that point. I like what I’m doing and I think it can grow naturally because it’s been growing naturally to this point. I want to see how far it can go naturally. If it makes a complete 100 percent sense, then maybe I’ll consider a label, but right now I’m content with what I’m doing.
What most excites you about what you’re doing right now? Knowing that I don’t know where it’s going to go or how big it could possibly be. The unknown is really exciting. This could be big! It could be on the radio, and it could change what people think. It could change the way the music goes. It could change the BPM. Knowing that I don’t know that makes me excited. Knowing that kids could take this route and add something to it is cool. Knowing that I could start something and start a revolution is exciting. That’s the coolest part about what I’m doing. In my city there’s a lot of hate, but I don’t get any of it at all. I get so much love it almost doesn’t make any sense. Kids are changing up the music and starting to let that image shit go. They’re starting to make better music and clique up more. This is the best era for the DMV.
What else do you want people to know? I want fans to be like, ‘Damn, that nigga tight.’
Thursday, May 8, 2014
Science of Beer
Professor Karl Siebert, who teaches FDSC 4300, The Science and Technology of Beer, demonstrates how to properly pour a beer and discusses the sensory experience of beer appreciation. In a recent study, Siebert identified the key component in a 'perfect' head of beer: a barley protein known as Lipid Transport Protein 1 or LPT1.
Sunday, April 13, 2014
Iamsu! | Only That Real | ft. 2 Chainz & Sage The Gemini | Official Music Video
Iamsu! | Only That Real | ft. 2 Chainz & Sage The Gemini | Official Music Video
Sincerely Yours drops May 13th, 2014
Follow Iamsu!:
http://www.facebook.com/iamsumusic
http://www.twitter.com/iamsu
http://www.instagram.com/heartbreaksuzy
http://www.hbkgang.com
Shon Roka (pronounced Shaun Roca) the DJ also known as Shaun Ortega was born on the west-side of Chicago. He started gaining fame as a bboy in 1991 and later became a member of a well known crew called the BRICKHEADZ. He would perform for such artist and events such as The Roots, KRS One, Immortal Technique, Dougie Fresh, Common, Rhymefest, Cypress Hill, Pharoah Monch, Nas, Diddy, Mariah Carey, Taste of Chicago, Lollapolooza, Looptopia, B96 Summer Bash just to name a few. The BRICKHEADZ also won many breakin' competition nationally and internationally. While Shon Roka was being active as a bboy he was working on his craft of being a DJ.
DJing for w/ Nike, Jordan, Under Armour, Adidas, Vans, Uprise (Chicago) Skateshop for numerous in-stores, sporting events, galleries and corporate outings. Also Shon Roka is a resident DJ post Covid in Chicago at McGee's, Tantrum, Imbibe and Harbee's. While being a DJ, he has been teaching music production and the Art of Skateboarding through Maggie Daley's After School Matters. Also known as Gallery 37.
For more information contact via email.
Tuesday, April 8, 2014
Kush Papi | Danny Glover (Remix) | Dir. By @Lashe_2Tone
Kush Papi | Danny Glover (Remix) | Dir. By @Lashe_2Tone
Directed By Brianna Lashé™
•https://twitter.com/Lashe_2tone
•http://instagram.com/bylashe
For Booking Email:Lashe2Tone@gmail.com
•https://twitter.com/KushPapii
•http://instagram.com/KushPapi_
Shon Roka (pronounced Shaun Roca) the DJ also known as Shaun Ortega was born on the west-side of Chicago. He started gaining fame as a bboy in 1991 and later became a member of a well known crew called the BRICKHEADZ. He would perform for such artist and events such as The Roots, KRS One, Immortal Technique, Dougie Fresh, Common, Rhymefest, Cypress Hill, Pharoah Monch, Nas, Diddy, Mariah Carey, Taste of Chicago, Lollapolooza, Looptopia, B96 Summer Bash just to name a few. The BRICKHEADZ also won many breakin' competition nationally and internationally. While Shon Roka was being active as a bboy he was working on his craft of being a DJ.
DJing for w/ Nike, Jordan, Under Armour, Adidas, Vans, Uprise (Chicago) Skateshop for numerous in-stores, sporting events, galleries and corporate outings. Also Shon Roka is a resident DJ post Covid in Chicago at McGee's, Tantrum, Imbibe and Harbee's. While being a DJ, he has been teaching music production and the Art of Skateboarding through Maggie Daley's After School Matters. Also known as Gallery 37.
For more information contact via email.
Monday, March 17, 2014
#ShonRoka Track of the Day | Sango | Pôr Do Sol Parte 2
Sango's self released "Da Rocinha 2" finally sees a vinyl release via Jakarta Records. 444 numbered copies, limited edition, no repress. "Pôr Do Sol Parte 2" is an exclusive & unreleased bonus track.
@sangobeats
facebook.com/jakartarecords
facebook.com/SangoBeats
@sangobeats
facebook.com/jakartarecords
facebook.com/SangoBeats
Shon Roka (pronounced Shaun Roca) the DJ also known as Shaun Ortega was born on the west-side of Chicago. He started gaining fame as a bboy in 1991 and later became a member of a well known crew called the BRICKHEADZ. He would perform for such artist and events such as The Roots, KRS One, Immortal Technique, Dougie Fresh, Common, Rhymefest, Cypress Hill, Pharoah Monch, Nas, Diddy, Mariah Carey, Taste of Chicago, Lollapolooza, Looptopia, B96 Summer Bash just to name a few. The BRICKHEADZ also won many breakin' competition nationally and internationally. While Shon Roka was being active as a bboy he was working on his craft of being a DJ.
DJing for w/ Nike, Jordan, Under Armour, Adidas, Vans, Uprise (Chicago) Skateshop for numerous in-stores, sporting events, galleries and corporate outings. Also Shon Roka is a resident DJ post Covid in Chicago at McGee's, Tantrum, Imbibe and Harbee's. While being a DJ, he has been teaching music production and the Art of Skateboarding through Maggie Daley's After School Matters. Also known as Gallery 37.
For more information contact via email.
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