Over a beat sampling Banks‘s Shlohmo-produced, slow-burner “Brain,” OnCue croons about his lust for a girl, and his words are so relatable–it is almost sickening. For example, listening to this song right now, I am getting this devastating feeling at the pit of my stomach, which I am pretty sure is the feeling of a burning angst for someone and not the after effects of the weird chicken I ate for lunch.
Because I love it so much, check out the sample.
I had the privilege of hanging out with OnCue recently. It was actually a meeting that will probably go down as one of the rarest IRL moments of our generation. Bauce Sauce of MJF was there. “Hip-hop” producer/mogul Brenton Duvall was there. My friends Adam and Jacob were there. We were in the Holiday Inn or maybe the Holiday Inn was in us. Pause. Sorry.
“Live Forever” is not on Angry Young Man, OnCue’s upcoming project, but maybe it is some indication of his new material. The beat is HUGE, featuring crossover, electronic stylings. This one is a rager.
Cuey and his right hand man/producer/beast CJ Luzi drop off the first dose of dopeness from Cuey’s impending “Angry Young Man.” Cuey has been hyping AYM for quite some time, and seems very excited about it. As per usual with most artists, of course–but when Cuey gets excited about his new releases, it’s almost always justified.
Cuey often writes about his struggles with poverty, and he does so in a refreshingly real, honest way. This song is no different. Titled “Cereal” or “Cereal for Breakfast,” it discusses his difficulties with getting by and succeeding in the music industry and in his life in general–eating cereal for breakfast, lunch, and dinner in order to pay the bills.
As Cue points out, it’s been a rough ride to get where he is today–but he believes success is in his future, and so do I: “My pass kicking my ass/Got me on the brink though.”
Stay tuned for new AYM releases, and get really excited for Angry Young Man.
How often does Just Blaze throw an executive producer tag on a white kid from Connecticut’s hip hop album? Not often, that’s for damn sure.
“If you don’t recognize me, then I’m the man I planned to be” — Now that is a beautiful line.
Very, very rarely do I ever find myself blown away, or even truly impressed, with music videos nowadays. Rich Kid, directed by Adam Ross, is an exception to that.
When I first heard the song, I wasn’t particularly blown away. But this video brings it all together for me and makes me realize just how important this song is, how real Cuey’s words are.
The visuals are stunning, both due to on-point framing and incredible after-effects treatment.
The best quality of this video is that it accentuates Cuey’s emotions, brings out the straightforward honesty in his words and works to further his point–it is not simply a cool looking visual accompaniment to the song.
It’s more than that.
I never was a rich kid, but best believe I’m dying one
Wow. Going into this, I was excited because this is one of my favorite OnCue songs and I knew that it would be Just Blaze’s directorial debut. Needless to say, my expectations were huge.
Shockingly, the finished product blew my expectations out of the water. This is just too good.
Cuey told me they’ve been sitting on this for a couple months as it was filmed a long time ago, and finally decided the time was right to drop it.
Initially, Cuey was going to play the lead role, but his creative director Adam Ross played it as the team decided he was better suited for the role. I don’t know if he did a better job than Cuey himself would have done, but he definitely kills the performance.
The great thing about the video is that it isn’t just visually really well done–well framed shots, crispy pixels, one beautiful bit of facial hair–it’s got it all.
Cuey killed it, Just killed it, that beard killed it.
One of my favorite production crews remixing one of my favorite up and coming rappers? What more could I ask for?
This one is a little more mellow than the sound I usually expect from The Soundmen, but you can’t deny that it’s catchy.
The ambient synths give the song a really laid back groove, and Cuey’s lyrics sound dope as always.
I saw some chatter about this collaboration on Twitter over the past few days, and I’ve been waiting for the release since I first saw that Cuey, Brenton and CJ were working on a track together.
To be frank, these three artists are three of the most talented up and comers in the game right now, hands down. Just look at OnCue and CJ’s unbelievable “It Usually Goes”. I had the chance to interview Cuey about a year and a half ago, and it’s been clear to me that he is the truth since first hearing his music.
“I speak that realness,” Cuey says, and it’s hard not to agree with him. While his flow is always on point and production always top notch (thanks to CJ et. al), his lyrics are always open, honest, and meaningful.
CJ and Brenton produce an anthem on this one, and Cuey supplies it with a beautiful hook and a couple great verses. It’s got the vintage Brenton Duvall sound, and it’s awesome to see Brenton collaborating with CJ on the beat. I hope these guys do more work together, because this is awesome.
I never was a rich kid, but best believe I’ll die one
If Cuey keeps putting out music of the caliber he has so consistently put out over the past couple years, serious success is inevitable. Cuey knows it, Just Blaze knows it, I know it…do you?
For me and many others, this release has been long awaited. Oncue has been an artist I have felt particularly invested in, and seeing him progress has been extremely exciting for me, as I consider myself a true fan from the beginning. I interviewed Cuey last December right after Cuey Sings the Blues dropped, and every time I see a new release from him I am excited to see the progression Cuey has shown time and time again.
This one’s different though; this release means something more to me. You see, Cuey is kind of at that point where he’s just about to blow up, but hasn’t really yet; that’s an extremely vital point in an artist’s career, and they can go in multiple directions. They can make songs that they think people want to hear; poppier production, catchier vocals–this option often leads to a significant style change for the artist, and it can either lead to their success or cause their fans to feel alienated. Or, they can progress their sound naturally, remaining true to their artistic styles and beliefs–they can talk about issues that still pertain to their lives, they can speak honestly, and they can make music they want to make.
Cuey took the latter road, and is all the better for it.
Headlights starts the album with some really smooth, mellow production, and is one of my favorite tracks on the tape.
I got no days off, that means no weekends
Cuey has been working like a mad man to make his dream a reality, and testimonials to his hard work run throughout this project. He’s honest about the struggles he faces, and no song makes that more clear to the listener than another one of my tracks on the tape, “Better than Before.” With an awesome sample from Ben Gibbard’s side-project, The Postal Service, Cuey raps about how the life he chose has a lot of harsh realities–strained relationships, alcohol abuse, etc. One thing I really respect about Cuey’s style is this realness; while many rappers unfortunately rap about things they truly do not have and feats they have never actually accomplished, Oncue just lays his life on the line.
We can’t deal with the problems of being stuck on the bottom so we go and grab the bottle/ And I gotta ask myself, am I the common factor?/ Everything I grab a hold of falls to the ground and shatters/ Or maybe I’m not, I doubt it’s the latter/ Everything I chase after turns around and runs backwards it’s a hazard
Cuey’s style has progressed in a really great way–the songs I didn’t like on Cuey’s tapes were all the “poppier” sounding records, and there are a few of those on here: Only Thing We Know, or Running, for example. But while I didn’t like those kind of tracks on Cuey’s older work, I really do like that style of his on Can’t Wait. Cuey shows us that he has a really great, enjoyable voice, and this is exciting as I think it could really help his future popularity, boosting him to that next level. But it’s hard staying on a grind that at times can feel extremely lonely and fruitless, as Cuey points out.
My drywall is cardboard, windows made of saran rap/ All I’m trying to do is build a song and see your hands clap/ So much words I’ve spoken/ Tired of being broken/ Heal me I need the potion, why can’t I feel emotion anymore, lately I’ve been so fucking numb/ Where the paralysis coming from? I don’t know I’m fucking done (Better than Before)
Cuey’s voice is complimented beautifully with the great production on this tape; I honestly don’t have an issue with the production of a single track on this record, and that’s something I am rarely able to say. 88-Keys lays some really smooth jazz down for “Kinda Late,” the collaboration track with Mike Posner, and Matt Grover, manicanparty, and Justin W all provide tight production throughout, along with the always consistent, never not dope CJ Luzi. Luzi has been Cuey’s chief producer for a long time, and it’s awesome seeing him progress along with Cuey. “They’re a pair that beats a full house,” as my grandfather might have put it. On “Running” they have a certifiable jam that I would not be surprised to hear on the radio. Cuey’s been working to make that dream a reality for a long time;
They don’t need to know, who about to blow/ No pun intended he was right under your nose/ 15 years old living in the studio rockin hand me down clothes tryna shimmy down flows/ Been focused, wasn’t till I left this shithole/ Yeah ya’ll took notice, now I’m hot/ Yeah you bogus/ I love my home I just hate some fuckers up in it (Can’t Wait)
One thing I pointed out the other day was how amusing it was to me that Cuey featured Mike Posner on a track and sang the hook himself, and also completely outshined Mike with his verse, as well. This is a testament to Cuey’s potential popular appeal, as he really shows time and time again throughout this project that he has a sound that can remain true to his artistic style while also appealing to a popular audience. Sonny Shotz also provides a nice cameo on Justin W’s wonderfully produced “Don’t Fall for That,” a standout on the album.
I titled this post with the preface of “Fralbum.” That’s a term Mac Miller coined, and it applies to this project more than anything else I’ve heard in a long time. This is not a mixtape–this is an album, free of charge. It’s a beautifully composed, intricately detailed, perfectly polished finish project. I would pay for this, and when he releases his next album I hope we all have the opportunity to give back to Cuey by reimbursing him for the gifts he has given us via his music. While I can’t say that a lot of the issues Cuey talks about directly pertain to me and my life, I still feel as if I can relate to his message; perseverance, hope, and loyalty to our dreams. Cuey’s making his dream come true, and inspiring many others to make their own dreams a reality; in my mind, that’s one of the highest praises I can bestow upon any artist, and Cuey deserves it.
I have streamed some of my favorites below, and I strongly, strongly urge you to download this entire album on Datpiff. It’s more than worth it
The good die young so I want to grow old (Not for Nothing)
Well, damn. This is our last single off of Oncue’s “Can’t Wait” project which drops tomorrow, and this one is huge. Featuring super dope production from 88-Keys, this one’s got a really great little piano/bass/guitar groove to it. A little funk, a little jazz, a little Posner, a little Cuey…what more could you ask for?
I was talking to Cuey over email the other day, and it’s crazy to think about how far dude has come–I remember interviewing him last December when he was nowhere near what he is today, both in terms of recognition and in terms of quality, and it’s awesome to see his progression. The fact that Posner’s verse is easily the worst part of this song speaks volumes about Cuey, and I think signals his ability to have widespread pop appeal.
Posner’s on here, and he still chooses to use his own voice on the hook–what? Yes. Awesome. Killed it. #CantWait
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Wow. I had to the chance to talk to Oncue about a year ago, and it’s amazing to see how he’s progressed. November 16th is a date that cannot come fast enough in my opinion; Cuey will be dropping his first entirely original (free) album, “Can’t Wait.” The tape will feature a lot of production by CJ Luzi, he produced this track as well as a lot of Cuey’s past releases.
This track highlights Cuey’s honesty and realness, and the cinematography really adds another level to this entire project.
Trust me, Oncue is just on the verge of blowing up big. He’s working with Mike Posner (the two have shared a few different Twitter interactions referencing their collaboration), and I’m excited to see what Cuey does next after “Can’t Wait,” it’ll be interesting to see how this project launches his career.
November 16th — mark your calendars. #CantWait
Download “Better Than Before”
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OnCue hit me up with the video for his new song “Feel Tall” today, and I was blown away by the production quality. It’s a stop-motion video, directed by Adam Ross for Visual High Life, and Cuey told me it took over 2,000 pictures and two months to make. Cuey delivers on the lyrics, production is hot, and as stated, visuals are dope. Hook could be better, in my opinion, but overall I’m impressed. Favorite reference? Stefan/Erkel.