Showing posts with label Music & Playlists. Show all posts
Showing posts with label Music & Playlists. Show all posts
Atlanta, GA, USA
“I’m like an encyclopedia of hip-hop”: Psyche Digital Meets Asston Kusher
"It all started with a booty call. Not my booty, my sister’s booty."
Twitter, one of the leading apps in late night hookups, never fails to show you women you can’t get and men you have already been with. But one thing I wasn’t expecting to see on my timeline is one of my sister’s exes cuddled up with some…Persian cat? Unapologetically and uncertain if it was really him, I tagged one of my friends in the picture typing “Is this the same boy my sister was with?” And instead of my friend replying, the guy in the picture assures me that he isn’t an ex at all, instead the superbly talented, 6-foot-7 skyscraping, 26-year-old oddity Asston Kusher, that I would go on to write my very first article about.
DMV born, Detroit raised, and Downtown Atlanta living, not only does Kusher invite us into his studio to ask questions and take pictures, the artist grants our team a private tour behind the mind of an abstract sound.
Can you describe your music in three words?
Abrasive, Esoteric, EPIC.
Can you describe yourself in one?
Anomaly
Kusher’s room had an ambiance identical to Eric Forman’s Basement from “That 70’s Show”; an infamous couch and rolling table, possibly over one hundred vinyl records stacked in their own corner and a Kitty that’ll support him no matter what. Bill Klinton, Kusher’s obese Persian roommate, didn’t greet us with warm welcomes. “I don’t want to be like him, because he’s caged in all the time,” The producer looks down at his fluffy cat and cracks a smile, Klinton looks back at him straight-faced. “But he’s so stress-free; you know…he has nothing to worry about.”
What about you makes you most confident?
My height and my energy. I don’t realize how tall I am until a motherfucker be saying that shit and I just feel like when I walk in somewhere it’s just like [mind] blowed. And I got supersonic hearing, so I be hearing “ That [man] tall” it’s just funny as hell, I guess it just adds confidence to me. I’m a confident motherfucker off top, I don’t know, that tall shit make me a little confident cause I hate hearing it.
Besides your musical talent, what other talents of yours are impressive?
I’m like an encyclopedia of like hip hop and music history. It’s just in my blood that’s how my mom is. She always knows everything about every artist. All that ill shit. She’s like a fucking book, and I get that from her. I guess that’s a talent.
Kusher leads us to warehouse down the street to take pictures at an aged door he admires. He sprawls out onto the ground and clears our confusion by saying, “I’m trying to look as trashy as possible”. On the subject of bums, we begin to talk about Donald Trump and the war on power in the United States.
What message can you give to the men and women standing up for #BlackLivesMatter?
Educate yourself on how the world really is, bruh. Like, we’re here. We are indigenous people of America. America was created on blood and killing and corruption and it’s not even a place that’s supposed to really… it’s a ticking time bomb. Police aren’t here to protect us, they’re here to protect people who pay mad taxes and own shit but don’t own shit, you know. Like, niggas been protesting for mad years like MLK got popped. And we don’t even have a leader, not saying we need one but we don’t have one. We gotta educate ourselves on how the world is going. I fuck with BLM, cause BL do matter, but we have to educate ourselves, this country was never set up for our success. We have this false sense of freedom and shit.
We talk more about himself over this short course of time we met, and I find out we have three major things in common. Both of our favorite F. Gary Gray movies is Set It Off, we don’t mess with fake people and bad energies, and we both would recommend listening to his music.
Which producers influence your music and overall yourself?
Prince Paul, DJ Premier, DJ Paul & Juicy J, Alchemist, Marley Marl, Lil Jon, Mr DJ… Beastie Boys [smiles], RZA, Lord Finesse, Diamond D
Ponder Me This proceeding BLACK CHOLO is Kusher’s newest masterpiece featuring the best song to play for one of your friends who never puts in for the boof pack titled NIGGA WE GOT MID. “I got Ouija Radio coming and Im dropping Tokyo Yacht Club 2 both albums [are] works from me, instrumentals and songs, works from people im producing, all types of bugged out shit, I got comedy shit coming and we writing a movie, it’s going down in a major fucking way” Stay tuned!
Strange Ang
Text: Angel Wildgoose
Visuals: Evan Berry
Visuals: Evan Berry
Atlanta, GA, USA
It’s WhatEver She Wants: AE the cool
I got the pleasure of hearing Ashley Elim also known as AEthecool sing at the annual Arts of the Hearts of Augusta event. I caught up with her at a small coffee shop where we were able to conduct the interview. Dressed in a black jumper that she thought was too big for her, but it gave off a vintage vibe. Her two braids slicked back and her shades to make her look like a superstar. She was ready to handle whatever this interview was in store.
“I’m still in the starting stages so I still have to do normal things”, AEthecool said as she explained how she prepares for a show. “Sometimes I will be at work and come home to scramble to get ready and some days I will procrastinate and scramble to get ready.”
And on this particular day she worked and procrastinated. She didn’t have a chance to eat either.
The urban soul (what she calls it) singer has been performing locally in Augusta for the past year and a half year. Having the passion to sing from a young age she started out singing just like every other great singer, in the church. Although, she felt she didn’t have the confidence to sing, she knew working behind a desk was not for her.
“If I was doing what I was supposed to do; I would be quiet most of the day not wearing out my voice and probably warm up. Then I would do makeup then go to the show. I think I’ve done that once.”
Singing came second nature to her. Her family said that they never heard her sing until she was, maybe around 12-years-old, in which we both found quite funny. AEthecool has been singing her whole life and believes her family was hiding the cruel truth that as a child she just didn’t sound that good. But it all turned out for the best because this young lady can sing!
The “Urban Soul” style of music, you know the one from before. And for anyone who thinks she got it from Trapsoul she thought of the name before it came out. It’s Neo-Soul with a strong hip-hop influence to it.
“I throw some R&B in there too” she said convincingly. “But it’s mostly Neo-Soul with a Hip-Hip feel.”
Auditioning for X-Factor around four years ago just because was actually a funny story to hear. She said that she sung Alicia Key’s Fallen acapella because she had no music.
“It sounded good” She said unsurely. “But they got some little girl that was bouncing around in cowboy boots.”
I asked if she learned anything from that experience and without any hesitation she laughed and said no. Which I would assume meant this was a huge waste of time. And would never do it again. She much rather make it on her own than a talent competition.
“I don’t know what will happen when I get caught in it [singing competition]” AE said with worry in her voice. “I know sometimes there are certain things you have to do once you win, if you do win. Like you have to be on a certain label, you have to do certain type of things and I wouldn’t want to have to do that.”
AE wants to work her way to the top herself. She knows that it takes a lot of work and she is motivated to do so.
“You have to discipline yourself” AE stresses to me. “Being a singer and an artist is like a 24-hour job” AEthecool said embarrassingly. “Especially right now because I don’t have a team and can’t afford a team; so you have to do everything yourself and you have to work so you have money to do things and you have to do your own makeup so sometimes it’s not on point. You have to eat right, exercise so your voice sounds good. It takes a lot. You always have to think about something and you have to be consistent and discipline yourself.”
AEthecool is motivated by all her friends who are succeeding in what they love to do and it gives her the extra boost to do what she loves which is singing. It was a pleasure sitting down and learning about the singer/songwriter.
For all of her latest music including her Eps “Here we are” and “Whatever” follow her soundcloud at aethecool as well as her Facebook, Instagram and Twitter with the say name. Be on the lookout because she’s releasing her website soon.
Text: Jarel Mcrae
Chicago, IL, USA
CHICAGO RAPPER HAS SOMETHING TO SAY ABOUT SEFLIE QUEENS
Jovan releases her music video for 'Social Media Girls' from her 3-track visual compilation "The Conscious EP." The video was shot and edited by Jovan, herself.
The Social Media Girl is an epidemic. The song came about when I saw an Instagram page with a bunch of likes on a bunch of selfies. It makes one seem one dimensional, as if that's the only thing they can contribute to the world. Through social media, we have the power to create our own virtual realities, that may not be accurate to who we are in real life. In can be very deceiving to those who gather their information about a person online.
"The internet creating imaginations feeding into our fascination, that we forget the real conversation and who we define our representation."
Through satire, I speak on the those who use social media as a means find their self worth, flaunting material things, creating fake realities and appearances through filters, and many other issues that social media that can bring to our lives. I want to let them know that they are worth more than a photo or post, and that they can find their true beauty within themselves.
"Your filthy filter passing off as fiction. Showing/telling: Are you really living? Deep down inside, you're in a scrimmage, thinking life is all about a competition."
In this comedic music video, Jovan plays the Social Media Girl, with an enormous afro, stuffed bra and drawn on tattoos, being obnoxious on her social media. We then see Jovan in a business casual outfit addressing the Social Media Girl on why she's always spending so much time on her phone. What makes this video unique is the usage of green screen and undercranking. Undercranking in the Music Video World is where the subject is performing the song slowed down, then sped up in post production editing, giving the video a fast and animated feel.
I'm sure this video will make you chuckle at least once.
About "The Conscious EP"
Chicago Emcee Jovan poses conscious questions and ignite conversations about the things she sees and experiences in the world. The 3-track visual compilation, she talks about the usage of social media (Social Media Girls), inner city youth (No Chill), and the many issues that Black people face in America (Progression of Our People).
"It has been over two years since I've released my last project, so it's been long overdue. I wanted to give them a taste of what I can do, a reintroduction of who I am as a hip hop artist. When you're a person of many skills, you can get lost into being boxed as one. Most times I am categorized as a filmmaker. What better way to intertwine all of my gifts and put them in a project?"
The Conscious EP is now available for free on Bandcamp and includes 3 bonus music videos, directed and edited by Jovan.
About Jovan
Jovan is a Creative based in Chicago, Illinois. Specializing in film, photography and music, Jovan believes in utilizing all of her skills in a positive light; With her music: reflecting what hip hop should be and should sound like. She describes her sound as “Old School meeting New School,” heavily influenced by 90s and 2000 hip hop music, boom bap instrumentals with an energetic new school flow. Inspired by artists such as Eve, Left Eye, Missy Elliott, Queen Latifah, Kanye West, Common, Lauryn Hill, Kendrick Lamar, Rapsody, J.Cole, and many others. Jovan is an abundance of energy, clarity, and hope, letting the people know that hip hop: this culture and art form is not dead.
Follow Jovan online!
San Diego, CA, USA
A look into Heavn: A Review of Jamila Woods Debut Album
Jamila Woods lulls us into her world of soulful, bubbly R&B. “Black girl be in a bubble, bubble.” This is Heavn. With the opening song Bubbles, Jamila Woods zooms into the life of a quiet black girl. “Floating quietly out of trouble, trouble.” She keeps quiet. The lyrics speak of youthful innocence, being in a bubble. “Black girl braids filled with bubbles, bubbles. Jump in puddles in double, double. How many different oils we know, we know to turn our skin from brown to gold?” Black girls are magic.
However, the ethereal beat keeps her distant. She keeps shy and quiet in Chi-town. She is innocent, but growing aware of the cost of blackness. "You should know that I keep knives inside my kitchen. I'm not the one you're thinking.” She is just like everyone else, armed in the same way everyone else is. She is not dangerous; she is black. “I've been picking my hair out and I know, now how cold I really feel.” She loves her blackness, but it comes at an emotional cost.
The wavering pitches of the next song VRY BLK seem to pop the bubble. “Black is like the magic, and magic's like a spell.” To the tune of Miss Mary Mack, Jamila declares, “I'm very black, black, black. Can't send me back, back, back. You take my brother, brother, brother. I fight back, back, back, back.” Heavn is an act of resistance. She mourns the losses in her community, while condemning the oppressors. “My brother's went to heaven, the police going to…” She does not finish her sentence. You, I, and they all know where they’re going. She also has words for those who condone the oppressors, the media, politicians, and anti-blackness. “Everything is relative, politicizing evidence. I heard a politician reiterate all the messages.” Although we have countless video evidence of murder, everyone views it through their own political lens. Politicians and police chiefs say we don’t know the entire story. VRY BLK is a song of mourning, but also of celebration of African-American culture, of hand games, chants, and solidarity and love in the struggle. “And all I wanna do is find love.”
A new beat comes on, less surreal, but still withdrawn. "Lonely lonely that is me,” Jamila croons. “Say don't take from me quiet. Don't take from me my tears.” She demands that you don’t dictate her emotions, her reactions to trauma. “I could be crazy, but my crazy is my own… I’ll be crazy on my own.” She feels more than the average person and doesn’t quite understand this. “I don't wanna wait for my life to be over to let myself feel the way I feel.” She is entitled to her emotions, to express them openly and freely. “I'm not OK, thanks for asking. I can tell I've said too much I'm out of touch. Guess no one ever really wants to know.“ She cares about others. It is strange to her that people speak out of obligation. She doesn’t understand why others don’t care. “I put a post-it note on my mirror so I might love myself, so I might be enough today.“ She suffers from self-hatred, not for lack of love from herself, but from culture and society. “I don't wanna wait for our lives to be over to love myself however I feel.” Happy, sad, angry-- she wants to love herself no matter the circumstance. She flips the reference (by Paula Cole). She is not impatient for romantic love, but for self-love. “A place where I'm alone, searching for a place where I'm alone. I get lost when I'm alone.” She needs time and space to process things. She wants to accept herself. She wants to find the place she belongs in herself.
In the titular song, Heavn, Jamila Woods opens with a reference to The Cure. Instead of asking for the secret to a neck kiss, she asks “Show me, show me, show me how you do that trick the one that makes you love someone.” In a world so cold, so antiblack, so capitalistic, how does she love someone? “The world wants us so numb and alone.” The chorus of her voice emulate the crashing waves, both near and distant. She thinks of her ancestors, how they loved despite it all. “They're dancing in the deepest ocean. See? Not even death could stop them.”
In My Name is more cutting, the beat more straight-forward and traditional. Jamila prefaces the song by revealing that she chose her own name. “Keep my name out your mouth cause you can't handle the fleek. Don't cut your tongue on my syllables.” She is tired of tongues twisting, gutting her name of all meaning. How many times does she have to repeat a name for someone to get it? “Bet you need a syllabus to teach you how many vowels sound. It's a long ‘i’ baby, but your tongue too lazy.” She is not foreign, not other. She is black. “Fix your face and say your grace before you pray to me.” She is a goddess. She is heaven in a name. The track ends in a group of children, reciting a quote from Freedom Fighter Assata Shakur.
The next track, LSD, greets us with an insect-like noise, taking us to nature, our natural habitat. This track is a Chance track through and through, Acid Rap himself. The beat explodes like a gospel. Chicago is more than what media depicts. “This here ain't for no Vice doc. This here ain't for no Spike op,” he says. Chance preaches to love each other out on the streets. “I shake up some hands on the right block; block club president, night watch.” Jamila and Chance love Chicago for Chicago. Jamila defends, “I won't let you criticize my city; like my skin, it's so pretty. If you don't like it, just leave it alone.” Despite its gentrification and over-policing, Jamila and Chance demand that you love Chicago and its people or leave it alone. They will fight for their city. “I'm a dragon slayer, I can't fly away to some hideaway. I gotta find a way.” Chicago is their home, community, and identity.
Blk Girl Soldier begins in a low, driving electric guitar riff. Despite centuries of oppression in America, black girls have and still thrive. “Look at what they did to my sisters last century, last week. They put her body in a jar and forget her. They love how it repeats… They make her hate her own skin. Treat her like a sin.” Despite such a toxic and hating culture, “She don’t give up.” She has plenty of freedom fighters to guide her. Jamila Woods names Rosa Parks, Ella Baker, Assata Shakur, Sojourner Truth, Audre Lorde, and Angela Davis as freedom fighters. “She taught us how to fight.” Blk Girl Soldiers march on.
A piano leads us into Emerald St., riffing like romantic R&B. Jamila Woods explores the beauty of young black love. “I be in my nightgown, chicken wings ready. If you bring the mild sauce, we can go steady.” Their love is pure and innocent. She echoes a childhood memory of Mr. Rogers. “It's a wonderful day in the hood, Would you be mine, would you be mine? Won't you be my neighbour?” Jamila Woods rejects the sexualization of young black girls and criminalization of black youth by celebrating virtuous black puppy love.
The remaining 5 tracks are musings on love; past, present, future, and self. Jamila looks to heaven for guidance, making reference to the Bible. “Give me today my daily bread. Help me to walk alone ahead. Though I walk through the darkest valley, I will fear no love.” Jamila wants an otherworldly love, a love that appreciates her in all her holiness and alienness. “I'm an alien from inner space. They can't read my mind all in my face… Just cos I'm born here. Don't mean I'm from here.” Disillusioned with the hardships of Earth, Jamila looks up. If only we loved one another in all that we are, we could create heaven on Earth. Maybe one day we can look at each other, instead of up, for hope. Jamila Woods is willing to work for this future. Until then, at least we are blessed with her piece of Heavn.
Text: Shanika Lazo
San Diego, CA, USA
Freedom: Beyoncé and Kendrick Lamar set the stage on fire
Beyoncé and Kendrick Lamar had our souls and booties shaking with their surprise performance opening the 2016 BET Awards— though I should admit, I mostly cried. The performance was a beautiful extension of Beyoncé’s visual album, Lemonade. Before you read on, I highly recommend you watch their opening performance at the BET Awards. Come back after you’ve been baptized.
In Lemonade, Queen Bey portrays Oshun (as seen in the picture above), an Orisha (diety) from Yoruba culture. In her BET performance, Beyoncé seems to extend this homage to the beloved goddess. Orisha is the ruler of rivers and fresh water. She is water. Since all living things need water, She connects all living things. The water’s sounds carry Orisha’s whispers to all animals, who understand her without effort. Yoruba elders say Oshun is the “unseen mother present at every gathering.” She is everywhere. We experience her as beauty, love, and ecstasy.
Beyoncé and her dancers adorned black attire that mimicked tribal tattoos alluding to West African tribes. Before Beyoncé sings of freedom, all we see is red smoke, evocative of blood and police lights. Orisha is associated with deep yellow in Nigeria and most of the African diaspora. So far in the performance, there seems to be no signs of Orisha.
Upon closer inspection, we see a yellow light off-center, but still highlighting Beyoncé. There is Orisha’s yellow. Even if we do not sense Her, She is said to be omnipresent and omnipotent. She is there, backing up the Queen. Orisha can ride her dancers— in other words, possess. The light seems to ride Beyoncé and the transformation begins. We then realize that the stage is water. The performers have been with Orisha all along. “I’ma rain, I’ma rain.” Beyoncé is rain. “I’ma wade, I’ma wave.” Beyoncé is waves. Beyoncé becomes Orisha, the mother of birds and water herself.
When Oshun rides a woman, it is said that “She dances, flirts, then weeps— because no one can love Her enough and the world is not as beautiful as She knows it could be.” Weeping is a reflection of Oshun’s deep capacity for love and dire need to be loved. Weeping is not a weakness. Beyoncé’s tears, a vital source of healing and love, are the fuel to her angry cries for freedom, the greatest love one could ask for. “I’m telling these tears, ‘Go and fall away, fall away.’ May the last one burn into flames.” From the water comes the flames. In the heart of the flames is Orisha’s yellow, her guidance. And still, these flames would not be present or necessary if not for the violent red surrounding these black women, these forces of nature.
Throughout the performance, we’re given a visual dichotomy of fire and water. In the Western world, the two are seen as opposites; water extinguishes fire. In both Beyoncé’s visual performance and lyrics, fire and water are instead seen as one in nature. Her dancers awaken these forces of nature, splashing through the water, inciting the fire with their own feet. Meaning to say, black women are and will be proudly responsible for their own liberation.
If Beyoncé is Orisha, her dancers are Her priestesses. They dance and stomp to the rhythm of Beyoncé’s voice, just as Orisha’s priestesses do to the rhythm of water (Orisha’s voice). Together, the dancers perform in water to honor Orisha, much like priestesses do along the Osun River in Nigeria. The dancers gather water, relying on it, on Orisha, to guide and heal them again, just as runaway slaves did.
Men in white pants join the stage. Together, the performers stomp in solidarity, reminiscent of West African tribal dances. The ritual seems to call out for someone.
Then, a boy from the streets of Compton, Kendrick Lamar, rises from below.
Drenched in blood red, Kendrick drops a few new bars. He is shrouded by white smoke, as if to signal a hopeful future that has yet to become tangible. But this hopeful future will be actualized in black youth like Kendrick.
As Kendrick goes in, Beyoncé crouches down and dances in the famed rap squat pose, embracing her identity as a black American; her African and American roots come into full circle, embodied as one.
To have Beyoncé and Kendrick open for the BET Awards was a powerful and necessary statement. The importance of Lemonade is in its celebration of all blackness: Afro-Latinas, Africans, Afro-Caribbeans, Afro-Asians, black Americans (and the diversity within them)— I could go on and on. Beyoncé and Kendrick Lamar recognize their history. They comprehend the oppression and violence their ancestors suffered to get to their own positions of wealth and social stature. They won’t let their freedom rot in hell. They will continue to run. They will continue to raise hell for their freedom. Fifty years later, Martin Luther King Jr.’s demands have not been satisfied. Black Americans demand what was promised to them — their constitutional guarantee. Black Americans demand freedom.
Text: Shanika Lazo
Atlanta, GA, USA
Rap Music Delivers a Chicago-made Gospel Baby
Recently, a famous couple has decided to conceive, but
infamous was once their name. The first parent, a hard, rhythmic sensation made
by melanated souls and the second, a spiritual tune, deep rooted in your soul.
They met briefly in 2004 when Kayne West gave us “Jesus Walks” from College
Dropout. Tried and true, the two genres sealed the deal after a twelve year
relationship of hard acceptance. Mr. West and his native partner Chance the
Rapper gave us hues from heaven full throttle this year and everyone is down
for the ride.
January 27th is when Kanye proclaimed his recent
work “The Life Of Pablo” as a gospel album on Twitter. Eighteen days before its
actual release, we received a prompt of the musical genius sharing his faith
with us once again, but little did we know what was peeking around the corner.
Chance made summer just a little sweeter on May 12th with the
release of his third mixtape “Coloring Book”. Of course with no warning, the
combination of these two birthed a beautiful baby: a child that’s not
necessarily new to the world, a product that the world didn’t know how to meet
and greet initially, but we’ve taken a different approach this time.
As long as the contradictions have existed, gospel and rap
coming together were always considered taboo. How could you ever mix gospel,
the good news, with “worldly” music? There was no such thing at one point. With
gospel meaning “good news”, it was meant solely for the purpose of worship and
praise of the Lord. Christianity kept gospel and its hymns sacred and that’s
where it stayed. At least that’s what your textbook Christian can attest to.
"It's like there's no rules anymore," BJ the Chicago Kid told the
Chicago Tribune. R&B singer BJ isn’t afraid to stick his faith where his
music is. His song “Church” sings that he has church in the morning while his
“girl” wants to do nothing but drugs and have sex. Whether you believe it or
not, the sound of gospel and the word of faith joining hands with rap music is
the one of the biggest fish in the sea of music right now. Your ears have
already received it with open arms and you haven’t even noticed. It’s still
that same sound that we love to bump our heads too; nothing has drastically
changed with the way that we listen.
We both know that Kanye has tweaked his sound since “Jesus
Walks”, but we know that he hasn’t lost his faith. Some may say that after his
mother passed away, his music took a left turn for The Worst Ln., but others
look at it as his creative genius pocket deepening. “Yeezus” gave us a techno-celestial
chill that didn’t sit quite too well with his fans, but he didn’t let us forget
that. “Yeezus is a Christian, huh?”, a verse in the track “Highlights” Ye lets
us know that no matter how ludicrous his narcissistic banter may get, that his
faith is still very much intact. But we knew that, right? Mr. West gave us
strong choir vocals and we even get a hint of the famous gospel mogul Kirk
Franklin. He explains that “Ultralight Beam”, “Father Stretch My Hands Pt. 1”,
and “Pt. 2” illustrates a self-comparison to the Apostle Paul. Stuck between
fames glory and torture, his album addresses his hard work, glutton to the
industry, faithfulness to his family, and coming to terms with his weaknesses.
Transparency seems to be the theme, but he does remain true to himself. If
that’s not a God-fearing man, I don’t know what is.
Chance the Rapper, formally known as Chancelor Bennett, isn’t
afraid of transparency either. Since “10 Day”, his first mixtape in 2012, he
wore his heart on his sleeve and was never afraid. Lyrics like “Kids of the
Kingdom singing about freedom”, and “Smiles come through, though my eyes might
cry when they reminisce over you, my God” gave new fans a taste of his faith
and what it means to him. In “Acid Rap”, we got a glimpse of Chance questioning
his relationship with Him with the line “And whys God's phone die every time
that I call on Him? If his son had a Twitter wonder if I would follow him”.
Coming full circle to “Coloring Book,” we can see that he finally let go. Why
are we now noticing how strong Chance feels about faith? The quick bounce in
his lyrics seems to cast a louder and prouder religious voice this time around.
Just like Kanye, we get those same choir voices and religious references. With
a rendition of the popular “How Great Is Our God”, Chance’s “How Great” is
featured on the mixtape with the intro sung by Jay Electronica and “My cousin
Nicole”. I mean, the religious references in this mixtape are endless and
they’re evident. Christian-rap? Nah, he’s still the young Chicago boy who’s
dabbled in drugs and the care-free side of life. Chance has remained authentic
to his religion and true to himself throughout his career, but “Coloring Book”
lays out his truth. As usual, hip-hop, jazz, funk, spoken word- the “Chance
sound” is still there; we also see Lil Wayne, Young Thug, Justin Bieber,
T-pain, and Kirk Franklin again. Not bound to a label, contract, or taboo media
perception, Chance is the true definition of a devout hip-hop artist.
“When they reminisce over you, my God”,
they said- Kanye in “Can’t Tell Me Nothin’” and Chance in “Nostalgia”; the
Chicago born rappers aren’t cut from two completely different cloths. They both
paid homage to Pete Rock & CL Smooth in two different songs at different
times. Featuring and having a hand in producing in each other’s album’s this
year, they have the same faith in Him with two different sounds. The two are
sixteen years a part in age and have changed the means of hip-hop and rap by
just being honest. "I'm only doing 1 percent, 2 percent of the work and
God is doing the rest of the work”, Kayne says. “I speak to God in public”,
Chance says. Coming together to create this blessed baby is probably the best
thing for the industry right now, but will we nurture it? Will we shy from its
face and shame is for what it actually is? Are we ready for our blessing?
Text: Sade' Louis
Visual: Jarel McRae
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