Day 48: Friend Zone by Thundercat

No that’s not your alarm going off, that is the opening beats of Thundercat’s Friend Zone. It has a very instrument heavy instrumental (if you know what I mean), with the bass and keyboard being supplemented with the hip-hop staple that is the synth. It reminds me quite a bit of yesterday’s lead artist, Anderson .Paak and the beat certainly sounds akin to To Pimp A Butterfly era Kendrick (on which he was a collaborator, as well as Lamar’s following project, untitled unmastered.).

Thundercat’s real name is Stephen Bruner and his first craft was playing the bass. He was very involved in the LA-based, pioneering movement of black music subverting and cross-pollinating music genres. He worked with the likes of Snoop Dogg, Erykah Badu, and Sa-Ra. His work with Flying Lotus led to his debut of the moniker Thundercat in 2011 on his project The Golden Age of Apocalypse. After the death of his close friend led to a more raw, darker album in Apocalypse in 2013, he worked on the aforementioned Kendrick Lamar projects and some of the late Mac Miller’s last work.

The song is a revenge song, focusing on the titular friend zone that unreciprocated love or romantic feelings can get you in. It’s notoriously difficult to escape this zone, and Thundercat makes light of this hugely relatable pit with clever lyrics and a jazzy outlook on heartbreak.

Thoughtfully released in time for Valentine’s Day 2017, it appeared on his album Drink. If you are looking for some imaginative, colourful and fresh artist and you enjoy hip-hop, then Thundercat and his impressive back catalogue is for you. If dance music is more your thing, Ross From Friends is an incredible DJ that has released a bouncy remix of this song and was featured on the collaborative album Brainfeeder X. All worth checking out if there’s nothing on the telly tonight or you’ve got a long journey ahead of you to get your teeth into some exciting music.

Spotify Playlist Link: https://spoti.fi/2CKuVex

Day 47: The Waters by Anderson .Paak ft. BJ The Chicago Kid

This album is an unbelievable masterpiece, and I am so happy that Anderson .Paak is now getting the recognition he deserves after his joint win for Best Rap Performance for his track Bubblin at last weekend’s Grammys ceremony.

The Waters comes from Paak’s 2016 album Malibu and is the third song from what is a brilliantly composed body of work. He is from Oxnard, California and is a funky and soulful singer/rapper that has taken influence from the likes of fellow Californians Dr. Dre and Kendrick Lamar as well as The Free Nationals and KAYTRANADA. This album, Malibu, was the second album Paak released under that moniker, having previously released an album, O.B.E. Vol. 1, in 2012 as Breezy Lovejoy. It’s a great name in my opinion, alas he moved to his current pseudonym and has released some truly genre-bending hip-hop and funk music.

On The Waters, Paak recruits BJ The Chicago Kid for this wavy track. The Chicago native (no points for guessing that) has frequented songs with Schoolboy Q and Ab-Soul, and it is a testament to Paak’s rising profile that he is collaborating with such a high profile star on just his sophomore project.

The verses have more of a rap flow to them, with the chorus reverting back to a more soulful sound that feels more true to the typical Paak instrumental. BJ’s feature is subtle and is a typical Paak use of a supplementary artist, seamlessly threading their vocals into the track to create a more emotive, funky sound. They work together rather than having distinct separation across verses.

It is this thinking and this approach to creating music that makes Anderson .Paak a truly unique musician that will continue to grab headlines, awards and even chart spots as the years roll on. This album was just the start for him and already he has gone on to release two more incredible projects in Yes Lawd! and Oxnard. Who knows where Paak can go from here.

Spotify Playlist Link: https://spoti.fi/2CKuVex

Day 46: 11 Minutes by YUNGBLUD ft. Halsey and Travis Barker

New music Friday brings us a cracking track from up and coming YUNGBLUD, established pop vocalist Halsey and legendary rock drummer Travis Barker.

Travis is most famed for his crazy drum solos as one third of the iconic Blink-182. His inclusion on the track is an interesting one, but it is very clear that his signature has been stamped heavily across the instrumental and fits the trajectory of YUNGBLUD’s young career. Dominic Harrison is from Doncaster and, whilst similarities are easily made to Jamie T and Ratboy, his hip-hop influences are also clear to see. The use of the word “yung” is an obvious example, as that has been adopted by the new breed of rap stars. His rock music also has inflections of hip-hop as well and it is this theme that ties the three artists together.

The song is a punk song at heart, with an ominous guitar chord progression and desperate lyrics that make for a great driving song, or a gritty montage track for an on-the-clock situation.

The artwork again evokes images of 90s punk and grunge, with the graphic to the right reminding me of a Banksy piece. This isn’t the first time Halsey has moved across into the emo space, as she collaborated with Juice WRLD on a remix of her smash hit Without Me, as well as covering the artists breakout single Lucid Dreams in her BBC Radio 1 Live Lounge a few months ago.

This song is a great example of how fluid music genres are becoming. Hip-hop is not just rap anymore, and rock isn’t confined to four-piece bands. The culture around genres are driving the development of the sound and this allows for some truly complex masterpieces being released almost weekly. This genre-bending, generation-spanning track is my favourite release of the week and is a testament to where music creation has reached.

Spotify Playlist Link: https://spoti.fi/2CKuVex

Day 45: Selfish by Future ft.Rihanna

A great collaboration for you on Valentine’s Day, though not the most romantic song that you’ll ever hear! Rihanna joins Future on Selfish. From Future’s 2017 album HNDRXX, it is a song that reevaluates a past connection and, to be honest, feels like the anthem for many people in the run-up to this year’s Valentine’s Day, desperately searching for a date.

There is very little instrumental in the song, which for Rihanna’s solos makes for a beautiful RnB track that makes her incredible vocal range the focal point of the song. Future’s verse is accompanied with a few more trap drums and a substantial dose of autotune, as has been the standard for the Atlanta trailblazer over the years, but the blend between verse and chorus and back into verse is smooth and isn’t a noticeable distraction from the song.

It’s no wonder that the song (and indeed the album as a whole) is melancholy and gloomy. Future released the album less than a year after his very public split from fellow artist Ciara, whilst this follows Rihanna’s eighth studio album, ANTI. The album comes from a similar, emotional place and the collaboration in this song is a perfect storm that has created a moody slow jam that might just be the perfect soundtrack for your Valentine’s. I hope you are listening to Luther Van Dross. But if not, then you could most certainly do worse than Selfish.

Spotify Playlist Link: https://spoti.fi/2CKuVex

Day 44: Faking It by Calvin Harris ft. Kehlani and Lil Yachty

You’ve got to love a love-related song on Valentine’s Day Eve (patent pending). Calvin Harris delivers today, with Kehlani and Lil Yachty providing vocal accompaniment.

It comes from Funk Wav Bounces Vol.1 and not only did this soundtrack a very long, very hot drive for me from Miami to Key West in the summer of 2017 after it was released, as a radio geek it is satisfying that global superstar Calvin Harris has referenced the underdog audio format that is .wav. It’s the little things really. The album is funky and takes you to west coast American sunsets on the beach, with this song, in particular, capturing a crashing R n B beat and amazing, reflective vocals from Kehlani.

The various pace changes make this an irresistible song to binge-listen. On an album with features which include Frank Ocean, Future, Pharrell, Khalid, Travis Scott, and Katy Perry, this song shines. Lil Yachty’s verse, to be honest, I think diminishes the overall experience. Calvin’s production is obviously incredible, as would be expected from the Forbes-listed highest paid DJ in the world. Kehlani is an incredible vocalist with an ever-growing audience and respect for her craft, yet I don’t think the addition of LilYachty adds to the song experience. On a song with so many stand out tracks and features, it feels like his inclusion is more of a tick of a box than a genuine artistic decision.

Faking It seems like a diversion from Harris’ usual, fool-proof hit-making system and experiment with a less layered, more stripped back approach to music. It is a great track and is a stellar example of utilisng R n B vocals on a dance track to create a more nuanced record that sits perfectly on an LP. Give the whole album a listen as it shows a different side to Calvin Harris. It is nowhere near 18 Months, but it comes close.

Spotify Playlist Link: https://spoti.fi/2CKuVex

Day 43: Pistol On My Side (P.O.M.S) by Swizz Beats ft. Lil Wayne

Many great artists have developed from promising producers. Kanye West started out as one famously, and there is no denying that Swizz Beats decided on his name whilst he was living his life in Logic and hearing the world in high hats and synths.

Pistol On My Side (P.O.M.S) is an unsurprisingly well-produced song. Lil Wayne takes care of the rap and he doesn’t really push himself out of his comfort zone. However, when it was released as the lead promo single for Swizz Beats 2018 album, Poison, it showed a reconnection of hip-hop greats and a return to the ears of the casual fan of both Swizz and Lil Tunechi. His Tha Carter V album was yet to be released when this touched down and his fans were very excited to see new Wayne. It may well have been encouraging for some fans to see Weezy not deviate far from his comfort zone, with many regarding his stint at the top of hip-hop to be the longest and most consistent of any artist.

The short track may be an example of two good artists collaborating for the sake of it, but it is a solid example of a hip-hop star stepping in to give a heavyweight producer a hand as he seeks to break it as a revered artist. It is nice to see the two abandon autotune and watch Lil Wayne flex his lyricism to such a strong extent.

The song is a good one. It’s not the most unforgettable song you will hear, but the combination of Weezy and Swizz is a great one and this was a great example of a lead single. It can’t help but build hype and sits well within this playlist.

Spotify Playlist Link: https://spoti.fi/2CKuVex

Day 42: Homerton B by Unknown T

It has been a devastating week for the world of grime. Over the weekend, up and coming star Cadet died in a car crash in a taxi on the way to the gig. The whole scene came together; AJ Tracey postponed his album promotion, and there was a large gathering in a London park where, led by Cadet’s mum, balloons were released in his memory. Events like this make you value life and how cruel a mistress death can be, no matter your status.

Cadet was rising with a new breed of grime superstars, including the likes of Dave, the aforementioned AJ Tracey, Tion Wayne, drill-based Headie One and today’s featured artist, Unknown T. Ironically getting more and more traction from his hit song Homerton B, T has taken the genres of grime and drill and tried to make the latter more palatable to the masses. It is a controversial song, mainly referencing the East London artist’s E9 borough of Homerton and the gang violence in which he was embroiled in during his earlier years.

Released without a label, as much of the underground London music is nowadays, it reflects a potential transition that is currently happening, with grime allowing room at the top of UK hip-hop for drill artists like Unknown T and Headie One to create crossover bangers. I’m very interested to see how this grime/drill crossover develops and continues to co-exist. The sounds of the streets will never die, but is it possible that perhaps the BPM will?

Spotify Playlist Link: https://spoti.fi/2CKuVex

Day 41: 92 Explorer by Post Malone

2018’s Beerbongs and Bentley’s was a coming-of-age album for Post Malone, elevating him in stature above the Soundcloud rapper generation from where he came from. It broke Spotify streaming records for an opening 24 hours (47.9 million) and also broke the record for most songs simultaneously in the top 20 on the Billboard Hot 100 chart in the USA. If you’re interested, the latter record was shared by the bizarre pairing of J Cole and The Beatles!

Post Malone’s once-detested face tattoos and rockstar image gave way to superstardom, and as a fan of his music and a massive advocate of going for a pint with him, I think this is good news. My favourite song off the album is a weird one. It’s not Rockstar, it’s not Better Now, it’s the more niche 92 Explorer. The song is named after a $1700 1992 Ford Explorer that he bought and had customised with West Coast Customs, adding spinning alloys, sub-woofers, and even gull wings. The song is a monument to the decadence the New York native enjoys following his meteoric rise, and his pimped out ride is a rolling advertisement for that.

Produced by London On Da Track, the beat oozes LA; slow cruising and palm trees. It reflects the titular car and as the signature trap elements come in then it adds to the grandeur and outlandishness Post is trying to capture. Outside of the beat, Post shines in his performance. It’s one of the best examples of his flow to date and, in the hook, brings out a solid singing voice that has clearly been chiseled, moulded and influenced by the likes of Kurt Cobain who he idolised as a kid.

Despite the song being an extended brag about how Post Malone can spend more on Rodeo Drive than I can (not entirely sure I needed reminding), it is a good piece of work. Production quality is high, as you’d expect from a producer of London’s quality, and Post really ups his levels from White Iverson and his debut album Stoney. All in all, a track well worth listening too, especially if you have a 1992 Ford Explorer with a gold tooth. Or are planning on a lazy Sunday drive around Calabasas anytime soon. Or both.

Spotify Playlist Link: https://spoti.fi/2CKuVex

Day 40: Bag Talk by Joey Purp

Chicago native Joey Purp is a recent addition to the global hip-hop scene, but one that is certainly making waves. Having been a part of the SaveMoney Collective in his early years alongside more household names such as Chance The Rapper and Vic Mensa, he has gone on to shine in his own right. His 2016 mixtape, iiiDrops, was met with critical acclaim from the likes of Pitchfork, Complex, and Rolling Stone and featured the aforementioned Chance and Vic as features, as well as Saba and Mick Jenkins and Knox Fortune on production duties.

Bag Talk is from his 2018 project, QUARTERTHING. His first studio album, it was released September 7th last year and Bag Talk was the second single to be released in the run-up to the album, after March 12th. Produced by Nez & Rio, the track has a hypnotic piano base layer to the production, with layerings of trap drums over the top. His lyrics feel specific to his situation at an exct moment in time, between these projects, where he is spitting about his truth. With a rising profile and increased notoriety, he talks about the perks this can give you such as exotic travel and spinning car wheels (because money can’t buy you taste), whilst still acknowledging the early days and the hustle of his younger years.

Bag Talk shows an improvement in Joey Purp’s flow and lyricism from iiiDrops and that continues through the entirety of QUARTERTHINGS. Check it out in the playlist link below, as well as the other 39 bangers I’ve featured on the blog.

Spotify Playlist Link: https://spoti.fi/2CKuVex

Day 37: Feel Good by Maribou State ft. Khruangbin

What a collaboration we have today! Maribou State are an English electronic duo that first adopted that moniker in 2011 when, with the school friends just a measly 16 years of age, were asked to remix huge electronic artist Hadouken! From there, they have gone from strength to strength, with 2 full-length albums and 6 EPs, as well as international bookings.

Khruangbin are very different but in a good way. Purely working with instrumentals, they draw heavily on world music, psychedelic and soul. The Texan trio has been inspired by the sounds of Thailand, Spain, South America and the Middle East and their sound permeates through this track.

The combination of bass, guitar, and drums with the electronic sounds of Maribou State make for a wavy, laid-back track that oozes positivity. Released as the first peek into Maribou State’s sophomore album Kingdoms in Colour, Feel Good shows a different side to the English duo. Combining with Khruangbin is a smart move and brings the right amount of change to get fans excited for a second album that, historically, often fails to replicate a band’s breakout sound.

There is a deep groove that is pulled through by the intertwined bass and electronic elements, whilst there is a searching quality to the record; moving and exploring an unusual terrain.

A truly great song that succeeded in a true representation of their second long-form project, it is an unexpected but delightful collaboration between genres and artists.

Spotify Playlist Link: https://spoti.fi/2CKuVex