NYS Music 20​18

Tag: hip hop

  • Hearing Aide: B. Chaps ‘Clips’

    I really have nothing bad to say about B. Chaps’ debut album, Clips, which released April 18, 2018. In fact, when I first turned it on, I was surprised at how much I liked it straight out of the gate. I love music more than anything, but it’s rare that this happens.

    On the first track, Chaps announces that he “was created to create;” but this is an understatement as this album covers multiple genres, lyrical topics and stylistic choices. Aside from this, it includes diverse and often surprising production choices, mostly written and performed by Chaps personally, who is gifted as a producer and recording engineer at Foster House Studios in Albany, NY.

    Clips had me hooked within about ten seconds of the first track, “Morning Music.” It begins with a wavy synth plus a soulful, jazzy set of guitar riffs sitting on a slanted electric piano. “How long I gotta wait?,” Chaps asks, correctly wording the feeling of anticipation that the instrumental gives the listener. But what works so well for this song is not the overt melodies or musicality, but rather all the subtleties that made me want to listen a few times — there’s a piano played backwards, a tape playing sound effect to add some nostalgia, and other little things that end up adding a lot to the overall mix.

    Some of the strongest aspects of Clips are all the subtleties in each song which, together, add greatly to the album. While guitar riffs (performed by Matt Dalton, Kevin Bohen and Pat Flores) and piano decorate this work, it’s the little stuff in the background that earn Chaps the win.

    In “Dip,” the third track, we hear the sounds of traffic mixed with a trippy beat played between a xylophone and an 808 type drum kit. Chaps credits Kevin Bohen for performing the guitar part on the song, and the stuttering beat creates a perfect bed for hip-hop vocals that dance on the edge of catchy and chaotic. “I’m so spaced out in my UFO / Haven’t seen the ground in a year or so.”

    I’m surprised that I haven’t heard “Blow My Money” on the radio just yet, but it won’t be long. This song works so well because it starts out with a sugar – dipped melody (with backing vocals by Valerie Barbosa) and includes relatable lyrics, but has enough obscurity to draw attention without being a distraction. He also stays away from false claims and keeps it honest, “Money ain’t a thing / ‘Cause I ain’t got shit,” he admits.

    Chaps states that he is “from another planet,” which is verifiable, but also causes me to ask the question: why isn’t this the name of the album? I avoid backseat producing at all costs, but this seemed like the one missed opportunity. I can easily forgive this because the album appealed to me on all angles. Influence wise, there’s something here for everyone. I’d be genuinely surprised if someone told me they couldn’t listen to this at all.

    “Feel Something” would be a great number live, especially for dancing. It starts out with a presto, hurried Latin beat on horns and bongos, but it also twists ears by going back to that 808 sound heard earlier in the record and completely changes the direction that I thought the song was going. Likewise, “No Sneakers” has more of an underground hip-hop sound, including more bass and samples — with a sound reminiscent of Weerd Science.

    Overall, I’m excited to hear more music from B. Chaps. Clips is a solid first effort — having a diverse and listenable sound — and I would not be surprised if this launches a full scale career with more albums ahead. Until then, I’ll be playing this album around the pool and barbecues this summer.

    Clips is available digitally through all major streaming platforms such as Spotify and Apple Music.

  • Hearing Aide: Ozymandias ‘Godly’

    “I won’t stop until they put me in the earth” and “I’m here to bring a vibe,” Ozymandias says on his newest album, Godly, released March 30, 2018. These two lines could be the spoken synopsIs of the 14-track album which follows up on previous efforts IDKNID and Blvck Cvstles (2017). Godly discusses many topics, features local collaborators and presents polished, yet atypical, production styles.

    We are introduced to the story through the baited dial tone and answering machine that plays Ozymandias’ preoccupied voice, asking for his caller to leave a message. “I’m not picking up my phone for some reason,” he admits, sounding uncertain, as if he does not yet know the reason.

    Throughout the album, we hear the voicemails of others asking the performer why he has not picked up his phone in juxtaposition with lyrics about human connection, love, equality and strong work ethic. One could conclude that a theme of the album is ignoring modern technology in favor of more genuine, and personal, means of communication.

    Godly follows the release of a few singles, “MadMax” (produced by 4k) and “Aim High” (produced by Savion), each accompanied by a cinematic music video. From these crumb trails, listeners take away a potent sample of what to expect from the album: polished, sharp production sandwiched between obscure noise-based tracks, dressed in 808 hits. This type of production is especially found on songs such as “Temporary” (produced by L. Davis), and “No Losses” (produced by Nick Cavs). Ozymandias’ composition follows the sounds found in his previous effort Blvck Cvstles, in particular, but he all but dismisses anxiety over the past. “If I lose it all, I’mma get it back,” Ozymandias says, summing up parts of his stated world view in one line.

    Overall, Godly conveys a series of meaningful messages which could apply to many situations. Much like influencers J. Cole and Kendrick Lamar, the album pairs deep beats with wide reaching lyrics with cuts like “Work” (produced by LebanonDonBeats). Yet, even with obscurity, the album has few, if any, skippable moments. At worst, it’s a solid effort with a few bangers and, at best, an anthemic, insightful crowd pleaser.

    Either way, the album is genuine and convinces the listener that it’s taken blood, sweat, tears and multiple drafts. “I pray that honesty hit ‘em,” the artist says in “Winter Bluez” (produced by Kelly Portis). His lyrics reflect the depth of challenges such as relationships, love, friends, parenthood, sociopolitical issues, and just trying to make it in his career. “Possibly the reason God challenged me is because he sees potential,” he says in the same song. None of this album is subtle, and it shouldn’t be.

  • Hearing Aide: BG the Boy Genius, ‘The PreVisual’

    BG the Boy Genius, a hip hop artist based in Albany, launched The PreVisual, a mixtape, on March 30 through Genius Minds. The project consists mostly of his poetic verses matched with already established instrumentals within the hip hop and pop industries. As a prelude to an upcoming album, PreVisual serves as a brightly lit roadside attraction in the path to future works. It’s also simply a strong sample of BG’s writing and vocal abilities.

    The mixtape opens up with “PreVisual In Ya Ear,” in which a series of news program introduces the listener to a slew of current issues. Boy Genius rhymes over a soulful, old school beat just to establish a timeline. “You look confused. Have you read the news?,” he asks. This provides an excellent rhetoric for the rest of the album which discusses a lot of modern issues and social situations, such as presidency, politics, trends, financials and interpersonal relationships. “I’m just honest…when I’m making comments,” he says. Honesty is another concept which comes up in the emotional “Let You Down” (originally recorded by NF, David Garcia, and Tommee Profitt).

    PreVisual covers a lot of modern musical ground, one track that jumps out of the fray is “Morning in America,” whose cadence mirrors a song of the same title by pop artist Jon Bellion. “We’re out of control, and everyone knows,” BG sings around a song about having children in a chaotic place, while trying to grow up himself at the same time. His lyrics fit the tune of the song better than the original artist, and “Morning” is not the only spot where this is the case.

    Another notable song is “Bank Account,” a perpetually annoying, yet strangely catchy number by 21 Savage. “I got 8, 7, 6, 5, 4, 3, 2, 1, none, zero fucks to give,” BG raps, eloquently (possibly accidentally) stating how many people feel about the original track. Regardless, this and all other songs on the tape communicate a clear command of language and poetry.

    Overall, PreVisual is a win for BG the Boy Genius as he displays mastery over his field, but does not need to say much for his abilities — they speak for themselves. Part of this is the teamwork that went into the project. Along with his own versions of already popular songs, BG credits both Phoenix, the producer, with production and engineering; as well as Travis Manney who performs on the seventh track, “Trav’s Interlude.” Other producers included Fat Cat and Blanco. If PreVisual is just a prelude to other upcoming projects, BG has set the bar high for his future, and he even leaves the listener with an idea of what to do if he doesn’t meet this bar. “If this album trash, all my fans, you can leave me,” he commands. PreVisual gives a lot, but leaves enough to the imagination for what listeners can expect in the future.

    The PreVisual can be streamed through SoundCloud.

    Key tracks: “Let You Down,” “Morning In America,” “Bank Account.”

  • Hearing Aide: The Weeknd, ‘My Dear Melancholy,’

    The Weeknd released a six-track EP called My Dear Melancholy, as a surprise in the early morning of Friday, March 30, following up his previous effort, 2016’s Starboy. Earlier that day, The Weeknd had posted a photo of the cover art of the EP with the caption “tonight,” leading fans to correctly speculate that they would hear new material that evening.

    My Dear Melancholy, was launched through XO and Republic Records. It’s a direct, dark message that describes the lows that come with ending a relationship. Its synth waves matched with blunted 808 kicks and lo-fi Moog leads create the perfect film noir atmosphere for a dramatic reading of this letter in a high pitch, saccharine croon. The featured vocal style features a redux of influences like Michael Jackson and Prince, and mingles well with contemporaries such as Bruno Mars and 6lack. Much like the cover art, Melancholy is a unique cross between new age R & B; hip hop bass and drum lines with Halloween synth parts and moody melodies.

    The Weeknd My Dear Melancholy“Call Out My Name” opens the EP and describes a bad relationship, labeled a “mistake” in the first verse. The narrator, born Abel Tesfaye, 28, denies responsibility for the relationship’s downfall, accusing the former partner of “wasting [his] time.” The theme of time wasting comes up again as the title of the third track, “Wasted Times,” where Tesfaye introduces a second relationship, one that occurred a long time ago. In this track, he compares the two relationships, saying that “she wasn’t even half of you,” as an ode to the one who got away.

    Perhaps his downfall is that his lyrics have no repentance. He refuses to see his own faults in the described situation and he attempts to make the subject jealous, while also complaining that she dates other people. Instead of contemplating what he could have done better, he wastes time by both bragging about his wounds and shifting blame throughout the narrative. But his broken heart is consumable. It works. It sells. It’s tearfully, deliciously entertaining.

    Although Tesfaye has possibly the most recognizable face in modern hip hop and pop music, he keeps a relatively low profile in the public eye, rarely giving interviews or confirming information about his personal life. This adds to the air of mystery that is also carried through the image and production of the EP. Melancholy hosts collaborators such as Gesaffelstein, who produced tracks 4 and 5, “Hurt You,” and “I Was Never There.” Other producers, co – producers, and collaborators included Frank Dukes (tracks 1, 2, 3, 4, and 6); Cirkut (track 5); Marz (track 2); and more. Tesfaye handled executive production after multiple tours throughout 2016 and ‘17 following Starboy.

    Overall, My Dear Melancholy, keeps the presentation short, sweet, and sad; yet hopefully open-ended like the comma attached to the title. It’s a tragic story, but it gives a lot of insight into its subject in a way many listeners can understand. Atmospheric, smokey production with a few plot twists that work are a great pairing with the emotional lyrics and intense delivery. Although sometimes extra, The Weeknd delivered a solid performance and debuted a message about a darker time in life, and his pain comes across as genuine.

    My Dear Melancholy, can be found on all major digital music platforms.

    Key tracks: Try Me, Wasted Times, Hurt You

  • Local Hip Hop Artist 3ality Talks with NYS Music

    Schenectady native, and upcoming local hip hop artist, 3ality, recently sat down with NYS Music for his first ever interview with any kind of publication.

    3ality has been blowing up fast on the local hip hop scene since debuting last summer. During the interview, 3ality was asked about performing live for the first time, when his next album will come out, and his first experience hitting the road.

    NYS Music: I was at your very first performance back in June at Our Place in Mechanicville. There was a downpour of rain all day. The promoter shows up late, in a pickup truck with all the sound equipment including speakers in the back getting soaked. Besides the obvious butterflies that had to be in your stomach, what was going on through your mind after witnessing this?

    3ality: I didn’t know what to expect, I just know I practiced my ass off and was ready to go do what I had to do…Nine months later, I know that my feelings that day are true. It was so unprofessional, so poorly promoted, and to this day, nothing has changed. I have one more date there that is part of an upcoming tour, unless changes are made, I promise that place will never see me again.

    NYS Music: Yeah I would say after nine months, and several shows, its time to move on from that promoter, but how about the venue itself? Was there something about the venue that you didn’t really care for?

    3ality: Besides being in the middle of nowhere, it’s kind of small but it does justice for a local show. If shows were actually promoted, it wouldn’t be so bad. The promoter and even the owner make it hard for people to enjoy themselves. 3ality tomatoes gives it a thumbs down, but I’ve enjoyed all my times there. It was the first place I got to perform my own music. The promoter doesn’t make fliers until the week of the show. Like what? The venue has a 21 and over only policy which dampens ticket sales and no real security.

    NYS Music: Interesting. You think they would implement a wristband system and place a black X on the back of the hand like other venues to tell difference between customers under 21.

    3ality: Yeah it only makes sense. They sell soda and food there. No reason they cant do 18+.

    NYS Music: How did you go about practicing for your first show? You obviously never performed on stage or in front of a crowd.

    3ality: I knew a month in advance that I was on the show so I filled my allotted time with my tracks and just did them over and over again until I was confident wit the memorization.

    NYS Music: How did you go about memorizing them? Did you just read over and over again what you wrote while sitting on your couch? (Laughs)

    3ality: I had some studio recorded stuff, so I have been already listening to myself and singing along. What I mainly did practicing was play the beats and sing over it cause that’s what I will be doing live. You check your lyrics until you get them. Just keep practicing like a spelling test. I worked at a community center which is like a YMCA, and after I was done working, I would go into the auditorium and use the mic set up and practice on stage to an empty room or a friend or two. Our Place didn’t have a stage and I felt like I could’ve put on an even more badass show for my family and friends from work who came to see me.

    NYS Music: That’s pretty badass. Nice to see that some family friends and co workers came out a supported you.

    NYS Music: Since your first performance, you have played several local shows throughout the Capital District in 2017, some shows in Pennsylvania, and capping the year off on New Year’s Eve in New Hampshire. How did you feel performing for the first time in a room where only the performers knew who you were.

    3ality: It felt amazing and right at home. That New Hampshire show was a “Juggalo” show which is the crowd I feel I appeal to most. I’m not shy when it comes to seizing the moment. I’m an outgoing guy when comfortable and have had a lot of experience prior to 3ality performing in front of big crowds.

    NYS Music: Experience performing in front of crowds before how?

    3ality: Singing in shows in school, karaoke in bars, and doing demonstrations in tae kwon do.

    NYS Music: What about IYF Wrestling? (Laughs) I’ve seen on your Facebook page that you used to wrestle on the local independent scene.That had to help with performing in front of a crowd.

    3ality: I don’t know. That was a whole different world. I feel like if I could’ve done that, I can do anything so your right cause that definitely had me nervous. (Laughs)

    NYS Music: (Laughs) I Bet.

    3ality: Yeah hopefully one day I’m big enough to set up a match at WrestleMania.

    NYS Music: It is coming to NY/NJ in 2019 so a close to home boy on a close to home show would be pretty cool.

    NYS Music: You traveled to New Hampshire and performed your first live set for a New Year’s Eve crowd. What expectations did you have going into the show, compared to how you felt after your performance?

    3ality: I think my expectations were exceeded from the point my first song ended and the crowd erupted. I felt like I belonged and the rest of my set was a breeze.

    NYS Music: In mid April you and some other local hip hop artists are going to hit the road and open shows for Skero. The tour is going to travel to parts of the U.S. including once again NH, West Virginia, Michigan, Indiana and kicking things off in Ohio. What are you looking to gain from this first time extended touring experience.

    3ality: This tour is gonna have the same type of crowd as New Hampshire. I met Skero at that show. I hope I get the chance to expand my fan base, and get people to follow me, want new music, and come out a see me perform again.

    NYS Music: You’ve released an EP and CD in the past year. Speaking of new music, can fans expect a new EP on this run?

    3ality: I’ve been a little busy…there wont be a new solo EP before summer, but there will definitely be new music before the year is out. One EP, two albums, I cant say yet but everyone is gonna get more familiar with the name 3ality, so I hope everyone is ready. You can check out my debut album on Spotify, iTunes, Google play and other like sites.

    NYS Music: Since your first live performance, how do you feel you have progressed from that first show, and have you changed anything about the way you approach a live performance?

    3ality: Not much. I’ve performed a few different songs, and collaborated with other artists. I’d say I have a lot more energy now.

    NYS Music: Thanks for taking the time out and chatting with us here at NYS Music. Last question: What else can we look forward to in the future from 3ality? Any other tours or shows planned?

    3ality: Thank You. Not yet. My biggest show to date will be in Stanhope, NJ, on May 13, when I open for Blaze Ya Dead Homie.

    New Yorkers can check out 3ality on April 15, at Our Place in Mechanicville, April 17, at Gusa’s in Elmira, and April 25, at The Footlight in Queens.

Built in Breakdance