The Download : *TWENTY* Free Songs You Should Download Right Now Pt. 3
Sorry I missed last weeks "The Download" been kinda busy, but to make up imma give you 20 songs to download Double the Download!! enjoy the ride… happy Listening...
Kendrick Lamar's verse on "Control"
Unless you were living under a rock for the past week and a half you've either heard or heard somebody say SOMETHING about this Kendrick Lamar song, or is it still Big Sean's song?
Sorry Big Sean, but this song is now Kendrick Lamar's. This shit owned the week, and we're not just "easily impressed," as Lupe suggested. There's more to it than that.
Over the past years, hip-hop has been embraced by mainstream culture more than ever before. If you consider rap's biggest stars, it's hard not to notice that many of them (besides Kanye) are pandering to public perception and corporate interest. Nothing against rappers getting money, but there are parts of hip-hop culture that, simply put, don't mesh with the clean image most big businesses have to project. Because of this, mainstream hip-hop got watered down.
What was once driven by a competitive spirit and a desire to be the best started looking more like politics and less like rap. In a way, it's nice that rappers aren't "beefing" like they used to. We don't need another East vs. West feud, negative energy that turns into real-life violence, or pointless name-calling. But there has always been a healthy rivalry between rappers that fueled them to push forward, come up with new ideas, stronger concepts, and better music. These days it's apologies for being too controversial, fake friendships, and a buddy-buddy attitude that has everyone feeling a little too comfortable.
With one verse, Kendrick Lamar shook things up. He made people feel uncomfortable. He claimed to be the king of New York. He put himself in a league with rap legends. He talked shit. He named names.
Kendrick's verse is more than just a good rapper rapping about rap. It's a departure from the safe, comfortable attitude that's been dominating mainstream hip-hop for the past few years—the attitude that's been turning rappers into frenemies instead of competitors. It signals a much-needed change in attitude that will hopefully make everyone step their game up, because playing it safe isn't safe when Kendrick's in his zone.
There's a reason why music fans let out a collective "oh shit" when we first heard Kendrick's new verse—and no, Lupe, it's not just because we're easily impressed. - Ras
Sorry Big Sean, but this song is now Kendrick Lamar's. This shit owned the week, and we're not just "easily impressed," as Lupe suggested. There's more to it than that.
Over the past years, hip-hop has been embraced by mainstream culture more than ever before. If you consider rap's biggest stars, it's hard not to notice that many of them (besides Kanye) are pandering to public perception and corporate interest. Nothing against rappers getting money, but there are parts of hip-hop culture that, simply put, don't mesh with the clean image most big businesses have to project. Because of this, mainstream hip-hop got watered down.
What was once driven by a competitive spirit and a desire to be the best started looking more like politics and less like rap. In a way, it's nice that rappers aren't "beefing" like they used to. We don't need another East vs. West feud, negative energy that turns into real-life violence, or pointless name-calling. But there has always been a healthy rivalry between rappers that fueled them to push forward, come up with new ideas, stronger concepts, and better music. These days it's apologies for being too controversial, fake friendships, and a buddy-buddy attitude that has everyone feeling a little too comfortable.
With one verse, Kendrick Lamar shook things up. He made people feel uncomfortable. He claimed to be the king of New York. He put himself in a league with rap legends. He talked shit. He named names.
Kendrick's verse is more than just a good rapper rapping about rap. It's a departure from the safe, comfortable attitude that's been dominating mainstream hip-hop for the past few years—the attitude that's been turning rappers into frenemies instead of competitors. It signals a much-needed change in attitude that will hopefully make everyone step their game up, because playing it safe isn't safe when Kendrick's in his zone.
There's a reason why music fans let out a collective "oh shit" when we first heard Kendrick's new verse—and no, Lupe, it's not just because we're easily impressed. - Ras
Drake - The Motion
Drake teams up with Sampha for this Melodic tone that I caught a liking to.
Heard this song and instantly had to bump it again. This song is for the summer, sipping wine, long drives, and partying.
Eric Bellinger Ft. Joe Budden - R&B Singer
Joe Budden jumps on Eric Bellinger's remix to "R&B Singer," a song off his Born II Sing Vol. 3
mixtape. Bellinger, who got his start penning tracks for everyone from
Usher to Chris Brown to TGT, is currently working on his debut LP. On
this bedroom burner Bellinger tells it how it is when a lady gets into a
relationship with an R&B singer.
The Weeknd - Royals (Lorde Remix)
We’ve already seen a slew of remixes for Lorde’s huge hit single “Royals.” Today we get another reworking (and undoubtedly the biggest yet) from none other than The Weeknd.
The R&B singer bulks up the track with extra drums, pounding,
echoing synths and touches of his own vocals carefully added in the
background. Listen to his version below and look for both of their
upcoming albums this September.
A$AP Ferg Ft. Danny Brown - Reynolds
Ferg is working hard to establish himself as an independent entity,
something that can exist both within the Mob and as his own artist. This
is a good first step. Danny Brown brings an unparalleled energy to any
track he chooses to inhabit—but this is Ferg’s track. Danny shows up to
finish the track up, spitting 16 in the last 45 seconds with that
shrieking charisma that has become all his own, but if this is a track
that DIDN’T make Trap Lord… damn.
Bird Call - Tao of Love
When artists describe their music as "genreless," it almost always sets up a contradiction. With the exception of the most extreme excursions into eccentricity and experimentation–the domain of performance art and late night college radio–even adventurous musicians find themselves occupying a genre or otherwise some combination of discernible categories. New York's Bird Call isn't breaking untouched ground with the slinky, sensual pop of "Tao of Love," but their sound coolly blurs the lines of different genres to the point that it becomes difficult to determine where one style ends and the next begins, a well-blended mixture of R&B, pop, jam-y rock, and atmospheric touches. "Tao of Love" is memorable without pandering, seductive without being overtly sexual in its confessional honesty. At very least, an engaging listen that piques the interest for things to come.
Kaytranada - Seeu Enni Way
Amazing sample use. Definitely Dilla-esque when he gets the track going. Word is this is from a forthcoming project full of tracks that he has on the way, and is a year old, but this kind of "dope-ass rap beats that you don't want rappers on" lane is my type of hype. Perfect headnodder's paradise. - khal
Norma Jean Martine - Mexico
Norma Jean Martine just came across my radar this week, and I already have no idea how I lived without her. The singer is only 20 years old and left her native New York for Nashville before ditching out on the country entirely and moving to London. Wherever she's from and wherever she lives now, Martine is one of those singers who will make you sit up and pay attention from the first note. Her voice is husky and tinged with warm smokiness, but it's the way that she manages to get her heart into the lines that you just can't teach—singers either have it or they don't. Well, she's got it and on "Mexico" the desire for adventure and escape weighs heavy even in a song light with love. Look for this girl selling out international venues within the next few years because it's going to happen.
Rubblebucket - Save Charlie
In a long line of excellent indie bands incorporating huge, orchestral sections and swells into their sound, Rubblebucket are a seven-piece pop group supplemented by a heavy dose of brass. Their exploratory horn lines and revving guitar solos are balanced by lead vocalist Kalmia Traver's sugar spun voice and light lyrical touch. "Save Charlie" is the title track for their debut EP on Communion Records—a heavy-hitting label known for procuring worthwhile acts in nearly ever genre. Let the layers of Rubblebucket unfold over a few listens, this is one that gets better and better with each repetition.
Earl Sweatshirt Ft. Domo Genesis - 20 Wave Caps
I won't comment on Doris too tough; I've not given it the thorough listen, and I kind of want to rock from Earl to now. Sue me. And while Earl is part of that "listen to it as a full album" cats, I can't front: when Samiyam's instrumental gets going?! It's one of those off-kilter, hypnotically awkward hip-hop tracks that I can't help but listening to on repeat. Makes perfect sense for Domo to get in on this. He's no star, but he's one of the best when it comes to flow in the OF camp, but it's all Earl when he gets his spit on. I don't even know what the hell is going on, but I can't stop listening
Mac Miller Ft. Action Bronson - Red Dot
"It must be the drugs" is a line from the track… need I say more?? its Mac Miller and Action Bronson just listen!
Bird Call - Tao of Love
When artists describe their music as "genreless," it almost always sets up a contradiction. With the exception of the most extreme excursions into eccentricity and experimentation–the domain of performance art and late night college radio–even adventurous musicians find themselves occupying a genre or otherwise some combination of discernible categories. New York's Bird Call isn't breaking untouched ground with the slinky, sensual pop of "Tao of Love," but their sound coolly blurs the lines of different genres to the point that it becomes difficult to determine where one style ends and the next begins, a well-blended mixture of R&B, pop, jam-y rock, and atmospheric touches. "Tao of Love" is memorable without pandering, seductive without being overtly sexual in its confessional honesty. At very least, an engaging listen that piques the interest for things to come.
Kaytranada - Seeu Enni Way
Amazing sample use. Definitely Dilla-esque when he gets the track going. Word is this is from a forthcoming project full of tracks that he has on the way, and is a year old, but this kind of "dope-ass rap beats that you don't want rappers on" lane is my type of hype. Perfect headnodder's paradise. - khal
Norma Jean Martine - Mexico
Norma Jean Martine just came across my radar this week, and I already have no idea how I lived without her. The singer is only 20 years old and left her native New York for Nashville before ditching out on the country entirely and moving to London. Wherever she's from and wherever she lives now, Martine is one of those singers who will make you sit up and pay attention from the first note. Her voice is husky and tinged with warm smokiness, but it's the way that she manages to get her heart into the lines that you just can't teach—singers either have it or they don't. Well, she's got it and on "Mexico" the desire for adventure and escape weighs heavy even in a song light with love. Look for this girl selling out international venues within the next few years because it's going to happen.
Rubblebucket - Save Charlie
In a long line of excellent indie bands incorporating huge, orchestral sections and swells into their sound, Rubblebucket are a seven-piece pop group supplemented by a heavy dose of brass. Their exploratory horn lines and revving guitar solos are balanced by lead vocalist Kalmia Traver's sugar spun voice and light lyrical touch. "Save Charlie" is the title track for their debut EP on Communion Records—a heavy-hitting label known for procuring worthwhile acts in nearly ever genre. Let the layers of Rubblebucket unfold over a few listens, this is one that gets better and better with each repetition.
Earl Sweatshirt Ft. Domo Genesis - 20 Wave Caps
I won't comment on Doris too tough; I've not given it the thorough listen, and I kind of want to rock from Earl to now. Sue me. And while Earl is part of that "listen to it as a full album" cats, I can't front: when Samiyam's instrumental gets going?! It's one of those off-kilter, hypnotically awkward hip-hop tracks that I can't help but listening to on repeat. Makes perfect sense for Domo to get in on this. He's no star, but he's one of the best when it comes to flow in the OF camp, but it's all Earl when he gets his spit on. I don't even know what the hell is going on, but I can't stop listening
Mac Miller Ft. Action Bronson - Red Dot
"It must be the drugs" is a line from the track… need I say more?? its Mac Miller and Action Bronson just listen!
On "Bang," the first track we heard from him, Memphis rapper Jon Waltz sounded more like Drake than A$AP, but "Somewhere Else" is his most complete song yet, and the pitched down vocals and delivery should sit well with fans of A$AP Rocky's Southern-influenced rap style. Skip to 3:45 for the real A$AP-leaning vibes.
Gallant - If It Hurts
Gallant's sky-high falsetto is a powerful weapon in the rising singer's arsenal. It floats effortlesly above the multi-layered production, and while his lyrics may not be as dark and explicit as The Weeknd's tales of drug-fuelled debauchery, the two convey a sense of emotion and passion in their music that isn't easy to come across.
BASECAMP - Emmanuel
There are a lot of artists mixing R&B style vocals with hazy, gauzy dance music leaning electronic production, but Sampha, and now Basecamp are doing so in a way that is rich, warm, and eminently human.
Deafkid - Vigilante
Alt-J's debut album remained sonically interesting while remaining within the realms of pop, and this genre-mixing but still catchy aesthetic is clear in the music of Deafkid, made up of Flo Sauvaire and Chris Lockington, former members of Ghostpoet's backing band. Deafkid's sound is rawer, more visceral, and more immediate than Alt-J's, with "Vigilante" proving that a whole load of energy and eperimentation can be squeezed in to a sub-3 minute song.
Eminem - Survival
One of the discussions prompted by Kendrick Lamar’s new verse has been about the competitive spirit in hip-hop and the fact that it’s been lacking lately. So many of the best/most famous rappers are more concerned with brand partnerships and behind-the-scenes politics than they are with stomping out their competition or proving their superior skills. Kendrick basically challenged the best rappers to step up. Meanwhile, Eminem—who used to be the epitome of competition, technical skill, and rule-breaking in rap—has premiered an intense new song via a video game soundtrack.
Call of Duty: Ghosts drops on November 5.
Skrillex & Damian Marley - Make it Bun Dem
This song is literally like a year and a half old but it still amazes me how music transcends genres and can combine to make incredible music like this. If you combine the sound Jesus would make with the sirens oof Odysseus from Homer's The Odyssey you'd get this song.
No Malice Ft. Pusha T - Shame The Devil
Four years into a hiatus that followed one of the most critically acclaimed decades of material ever seen in hip-hop, Clipse architects/brothers No Malice and Pusha T have released a new track called “Shame The Devil.” The track will appear on No Malice’s Ye Hear Him. It will be Malice’s first step back into the game since “finding God,” as Pusha explains in the track. It doesn’t seem to have had any negative effects though — the brothers’ voices still cut through the beat like a knife through warm butter.
It’s a snare-heavy dancehall banger complete with sirens and a “fiyah” sample during the chorus but it’s classic Clipse once they take the mic: big bass, spare and moody instrumentation, and plenty of wordplay. The only evidence of Malice’s reawakening comes in the second verse: “I don’t fear death / they tell me it come in threes / be ye not deceived / we reap as we sow / life, too, comes in threes / Father, Son, Holy Ghost.”
The new Clipse album is still mostly rumors, but this song is a big step in the right direction. The tentative album title being bounced around the internet is As God As My Witness. All we can do now is wait. Have a listen to “Shame The Devil” below:
Goodie Mob Ft. T.I. - Pinstripes
The Goodie Mob crew of Cee Lo Green, Khujo, Big Gipp and T-Mo team up with fellow Atlanta emcee T.I. for their new song "Pinstripes." The song will appear on Goodie Mob's forthcoming album, Age Against the Machine.
Peep that album artwork!
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