Paper Plates hits us with a track about seeming nervous and being a social pariah over a slow and slick head nodding beat with his latest track, “Ocean”. The entire song is somewhat unsettling and Paper Plates does not let up throughout the entire 4:23 minutes of pure dark hip-hop that “Ocean” offers. And although you might feel a little uncomfortable by it, you keep pressing that play button over and over again. Also, his accent automatically gets him bonus points with every American girl, ever. Damn, I need to get back to London soon…
But before that, you all should get on the Paper Plates game so you will be able to say you knew him when. Check out “Ocean” below, or his video for “Gutter Mouth” if you can’t get enough.
This song begins with crickets, breezes into a distant woman’s vocal, and then breaks in with elegantly spoken rap. Marcè Reazon keeps a river running type flow in the producing of this song, and there is never a misstep or wrong note. Complete with piano appearances, fluid electronic effects, and some barely-noticeable-but-still-beautiful-singing in the background, Marcè really outdid himself with this one. The verses throughout the entire track are solid as well and help aid with the head bopping the song demands, but the real stand out in this song is the beat. Beauty has been defined, and you can find it in Marcè Reazon’s “Rain”. Get to know this Long Beach native now so you can say “I remember when” when he is gracing the covers of magazines and Billboard charts.
KiD CuDi is back!! After announcing that he is leaving the G.O.O.D. Music family, he dropped “Girls”, his newest song featuring Too $hort which is to be coming off of his upcoming full length, INDICUD. Pretty sure this song will go straight to the pop charts because of the radio-friendly vibe it gives off, but either way I am still a pretty big fan. Although no song can ever live up to the original “Girls“, CuDi’s newest song is pretty solid. Watch the video below to get a sneak peak, or go to the download link right here.
Damn. It’s been a minute since we have seen something dark from Drake, but I think this video has filled that hole. Without any featuring of central lighting, the video for “5AM in Toronto” relies heavily on the creeped out beat and Drake’s lyrics more than anything else. With a bunch of smoking, slo-mo and girls, “5AM in Toronto” is here for you to get weird to. Check it out below:
This version of “We Up” by 50 Cent and Kendrick Lamar is just what I needed right before I go to sleep tonight. Low-key, smooth and sans an overbearing drum beat, “We Up” is relaxing and a refreshing reminder that rap is not about to be going anywhere with collaborations with legends and up-and-comers like these two.
This song used to have a verse from Kidd Kidd, another G-Unit member, but thanks to a great deal of backlash on Twitter about his verse, 50 Cent made the executive decision to quietly cut Kidd’s verse out and add in another one of his own. “We Up” will be on 50 Cent’s upcoming Street King Immortal which currently does not have a release date.
Now excuse me as I fall asleep to this on a loop. Take a listen to “We Up” below and enjoy.
The-Dream blessed us with a 4m30 trap song full of intergalactic sounds could make the most pretentious of rap fans dance. This probably is a little too out there for The-Dream’s upcoming full length, but in the meantime, I will be over here getting together a twerk team.
Check out The-Dream’s “Tron” below and get ready to blast off.
You thought you already knew “Bitch, Don’t Kill My Vibe” from good kid, m.A.A.d city but that was just because you didn’t know this remix was coming. The first verse lays down a nice base for the song, and then Hov comes in and does his thing (his thing circa 2003, not 2013, by the way, which is refreshing) and then Kendrick comes in for the kill in verse three. As I posted on all my social media channels earlier today, “you can all go back home and stop recording those mix tapes now. The rap game no longer needs saving.” Thank you Kendrick, and amen.
Oh, Iggy Azalea, where do I begin with you. I guess I’ll start off with the fact that Iggy is no stranger to the WGWI website; I have written about her a few times and after every article I am a little more confused as to how I feel about her. As an Australian white girl who grew up in the southern United States who raps, she is an anomaly the rap game has never seen before.
Iggy is my favorite type of person because she is able to blend between fashion and the rap game. Her quality of rapping is up for discussion BUT I appreciate her interesting and less ~mainstream~ take on the rap game.
Her video for “Work” dropped early last week and has perplexed me since then. I love the video because it is all about a hot lady walking around people who do not deserve to be around her because she’s so awesome, but then again…I don’t know. I feel like there is a huge difference between the beat for the chorus and the verses, and also in the tone of the lyrics. I know she wants to be able to have almost every song be a dance track, especially her single, but maybe there should have been a splice between the two for this particular song. However, I think she is just beginning and everything musically will fall into place for her. Now the problem will be for my friends to start learning the difference between Azealia Banks and Iggy Azalea and we will be in business.
Also, if you are not interested in Iggy that much, maybe this very insightful YouTube comment will change your mind: “I just came for the ass.” I mean…it is kind of worth it?
Check out “Work” below and let us know what you link.
When WGWI first discovered Azealia last winter, we were enamored with her “Fuck Up the Fun” flow and have been on this girl’s bandwagon ever since. With her following releases, such as her mixtape this summer of Fantasea and her subsequent videos, it is safe to say that I am a pretty big fangirl. Despite all of the Twitter beef that she has been engaged with recently with other musicians and Perez Hilton (is he still a person who exists?), I think that Banks has mad talent and has a voice that needs to, and will be, heard no matter what her opponents might think.
As for the song and the video themselves, the song has the typical Banks flow, with my favorite line being “she claiming uptown, and then she bring it down, right?” The video is very low-key, with her rapping and also dancing in a recording room. Her hair is so on point throughout the entire thing, not to mention her fashion sense. Man, I really can’t get over her. But I digress. Watch Azealia Banks’ “Harlem Shake” Remix video below:
It really does seem like this blog is just becoming a Mac Miller fan page, but I promise that I will soon get back on my rap game and once again commence branching out into other up and coming artists! I am currently in the process of researching the French rap game for a school project (I live in France, so this isn’t as random as you might think), so if you are lucky, I might let you all peep that and treat you all to a bunch of really talented (and attractive) French rappers in the near future. Even if you cannot understand the words, the flows are still solid and the beats are on point. But more on that when in come; for now, Mac Miller’s newest song!
“Confessions of a Cash Register” dropped yesterday via Mac Miller’s Twitter with him first stating that he hasn’t released anything in a while and then asking if anyone wanted to hear anything new. Even though this is pretty pandering (who is actually going to respond no, and even if they do, you are still going to post something Mac; don’t play with me like this!), he released “Confessions of a Cash Register” a few minutes later with the explanation that this song will not be featured on anything that he is going to coming out with in the future. It seems like Mac has his fingers in a lot of different pots, so it is actually pretty fascinating to see that he still has the time / energy / flows to write, record, produce and release something that is not going to make him any money. Maybe this is why I love him so much?
The song is featuring Prodigy, who takes the first verse and sets the tone for the song which is not really much of surprise considering that Prodigy has released songs such as “Keep It Thoro” and “Stop Stressin”. Once Mac kicks in with the second and third verses, the mood changes a bit. Mac sounds older; he sounds tired. This change in tone is a very different mood than his other much more poppy and happy songs which preach positivity (see: “KIDS”, “Best Day Ever” and “Up All Night” and many, many others). It is cool to be able to see this side of Mac, as it seems as if it is a defining change in his career. He went from, quite literally, a kid to a more hardened adult (he just turned 21; wow, how old, ammirite?) and this is evident in this song, and his other more recent releases like “Day One: A Song About Nothing”, “Glow”, and “All The Time”.
I look forward to hearing more from this Mac in the near future with his long list of upcoming releases. Check out “Confessions of a Cash Register” below and let us know what you think of the song!