Back in high school, Joey Aich was just a 16 year old kid wanting to become a rapper. He wanted to put his thoughts on paper, share his views, spread his message, and have fun doing it. So that’s exactly what he did. Doesn’t take much to get started doing this music thing. He had a dream back then, and wanted to do anything he could to make it happen. That was seven years ago. That dream hasn’t changed for the Cleveland born rapper. What’s different from then versus now? Joey has a couple projects under his belt, he’s consistently performing shows all around Ohio, and he’s gained a following. On top of all of that, he was able to share the stage with his favorite rapper. Check out the incredible story below from Joey:
When Asher Roth released Seared Foie Gras with Quience and Cranberry, I was hooked. He’s been my favorite rapper since that release. In 2014, after I dropped College D.egree, I went to his show at the House of Blues in Cleveland. My friend and I tried to sneak into the meet and greet Asher was holding without tickets to give him a demo. As you would expect, we got kicked out. So we waited in the parking lot, and eventually Asher came out to talk and even rapped with a few of us. Fast forward to 2015, I was fortunate enough to be given the opportunity to open up for him. In one of my older songs, I have a line where I say “visions of Asher Roth inviting me to the stage.” During Asher’s set, he called me up and we performed “Lark On My Go Kart” together.
Asher Roth – Park street Saloon (’15) pic.twitter.com/DhbhsmiVFb
— Joey Aich (@JoeyAich4) February 11, 2017
That’s what this latest release is about. It’s about chasing your dreams, and doing everything you can to make it happen. Joey writes from the point of view as a rapper. He wanted his message to be clear that it’s for everyone else too, and that they’re not alone. “Rope Break” is off of If Money Grew On Trees due later this year. This also marks Joey’s debut on Spotify, and Apple Music.
You might remember Prelow from their 2014 hit, “Mistakes Like This,” and their subsequent EP, Why Does Everything Happen So Much. Since then, the NYC duo has taken time to experience new things as they develop their follow-up project, and today, we are excited to premiere Prelow’s latest single, “I Don’t Wanna End The Night” — out for the first time in its final form after the demo circulated a few years back.
This is one of those songs that is so specific and rooted in detail that it speaks a universal truth, as it elucidates the empty feeling one is left with after the fun is over. Its intimate portrayal of carefree debauchery and 4 a.m. companionship will likely restore your own incomplete memories from similar nights out. With their fingers so steadily on the pulse of the city dwelling, twenty-something experience, Prelow is probably the closest thing we have to a modern-day version of The Strokes.
Listen to “I Don’t Wanna End The Night” below, and while you’re at it, also check out “Guitar Beat” which was released last month.
So I say, “Let’s get a drink at the bar downstairs”/ She said, “Hey, I’ll get a drink almost anywhere”
First The Chainsmokers, and now Pepsi, Rozes releases a live music video from the Pepsi Creators League Studio for her reggae-ton influenced, but somewhat dark pop tune, “Hangin’ On.” I actually had the pleasure of seeing Rozes in her hometown of Philly, which is something you don’t get to see everyday. Cool moment to watch an artist perform in front of her hometown crowd as you can always tell there’s a little more emotion to it. “Hangin’ On” is off of her latest EP, Burn Wild, which you can stream on SoundCloud below.
When you think of Oklahoma, virtuosic rap may be the last thing that comes to mind but Tulsa-based Marshall Sinclaire is primed to put his State on the map. His new subwoofer suited single “Hydraulics” offers up the slow-burning, late night vibes of classic Nas and Tech N9ne, bucking the the current trend of unintelligible, bubblegum trap. While the tracks first few stanzas finds the MC gaining his footing, it isn’t long before he is off to the races and delivering a stellar second verse with ninja-like wordplay and progressive storytelling. The compelling lyrics are complimented by a wicked, notched down hook that bounces along beautifully to the dark piano notes and wicked sub bass line. “Hydraulics” is one of the many excellent cuts from Sinclair’s new album, noth(k)ing, out later this month.
Sounding like the prodigious prodigy of Kid Cudi and Drake, Cameron Murdoch has carved out a space for his self reflective raps with a slow drip of singles starting last year. With his EP release eminent (I Love Me Too – due out tomorrow, October 7th) the MC has treated us to a premiere of the album’s title-track. The bombastic mix of future bass, chopped and skrewed drums and impassioned lyrics makes for a knockout listen that rivals anything currently spinning on terrestrial radio. An added bonus is that Murdoch actually has something constructive to say about our evolving consciousness and the way we can relate to others as well as ourselves.
LA transplants the KnowMads were featured on Sunset back in 2012 as they were riding the groundswell of Seattle hip hop hype that catapulted Macklemore into mass consciousness. While the duo hasn’t quite hit the FM airwaves as hard, they have built a steady grass-roots following that has continued to support them as they uprooted to Los Angeles. The change of scenery is reflected in their latest LP, Knew School, which features some of their most accessible tunes yet.
We have the pleasure of premiering their newest single “Freshman Year” whose summery piano laden beat is complimented by the boys heartfelt high school nostalgia; painting a vivid and compelling picture of how hip hop shaped their formative years.
Known for their amebic rock grooves and sonic experimentalism, NYC’s diNMachine never disappoint with their wild electronic musical leanings. Adding turntable impresario DJ Olive to the (re)mix makes for an even more intoxicating network of sounds, landing somewhere between Aphex Twin and Diplo. The use of Dubstep and other contemporary techniques makes this track feel like a cultural touchstone of sorts, bridging the gap from 90′s club music to the bleeding edge of electronica. The DJ Olive remix is the first one off the upcoming cassette release, Sang Gween Remixes, from diNMachine, which includes 10 remixes of the single by different DJ’s from around the world plus the original song. The cassette will be released on September 23 by Greedy Dilettante Records.
Gypsum may be fresh to the music scene, but the LA-based post-rockers have plenty of promise. They’re sharing their art with the world today by premiering their soul-stirring debut track “Follow Me”. The song opens up with a mystical sound and continues to build with a pure and mesmerizing darkness. It has a haunting, eery feel to it, which is no surprise when discovering what the song is about. As the band’s drummer, Jessy Reed, explains, “The song is about running from something that’s hunting you. Something that’s hunting you just for existing.” This track is just one of many in the works for the Gypsum ladies, so it’s only the beginning of what’s to come. For now, check out the premiere for “Follow Me”, the debut track from Gypsum.
Ensemble Mik Nawooj brings the notion of ‘Cali Love’ to new heights with innovative hip-hop orchestration. The Bay Area collective is led by classically trained Korean composer JooWan Kim whose love for J Dilla‘s ‘method sampling’ pushed him to “create more complex and orchestral beats.” Kim sees hip-hop as the next great American indigenous art form and has made a name for himself elevating the genres novelty songs into large scale suites. The groups re-packaging of the Marlena Shaw classic “California Soul” is no exception, and when set against a blur of sun-baked West Coast imagery, succeeds in challenging the the status quo of hip hop production. Ensemble Mik Nawooj is bringing it’s forward thinking orchestra to Sausalito, CA this Saturday. Tickets available here.
With SWISH’s release swiftly approaching, Brooklyn producer-singer The Landing is certainly timing his latest release flawlessly, and we can confirm that his cover of Kanye West‘s 808s and Heartbreak hit is far more than just savvy marketing.
“Space-pop” is The Landing’s preferred genre, and he certainly imbues West’s bouncy electronic track with an extraterrestrial feeling. The synths are beefed up to galactic proportions, and contrast well with the breezy island bounce of the percussion.
Moving at a brisk pace, The Landing expands on the style that made How Strange to Be, his 2015 EP, an unexpected success. He’s a first-rate producer and songwriter, and both of those qualities are apparent on “Paranoid.”
The Landing’s voice is a bit similar to Mr. Hudson, who appeared on the original, and he handles the verses with a quiet, restrained charisma before breaking into a sandy falsetto on the chorus.
“Being the first cover I’ve put out, I wanted to do something unexpected but relevant at the same time, and Kanye as a pop artist has fascinated me for continually delivering on these two fronts,” The Landing said of the single. “We all ‘worry bout the wrong thangs’ while knowing fully well we don’t have to.”
With a unique style and flair, The Landing’s cover will surely help you through the bleak winter months and keep your Kanye appetite satiated until the release of Swish.