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6 Times Hannibal Buress Blended Hip-Hop & Comedy

Hannibal Buress is planning on crossing over to music with a new album.

Popular stand up comic Hannibal Buress is planning on crossing over to music with a new album, according to his DJ and friend. Buress will team up with his Handsome Rambler podcast co-host DJ Tony Trimm for a new record with original songs (as opposed to his standup albums). Details are scarce at the moment, but it is expected to be released later on in the year.

“We already have a few [songs] in mind,” DJ Tony Trimm said in an interview, announcing the project. “We already have half of a Juke song. It’s just a matter of sitting down and crafting it.”

Trimm, who will be handling the production, said they are trying to create a “quality album” but also said it would feature Buress’s sense of humor.

While Trimm didn’t explicitly say it will be a full-fledged hip-hop record, it’s likely he will be mostly be rapping on the project if his past is any indicator. Here are some of Hannibal’s most hip-hop moments of his career:

1. That time Hannibal went to a Riff Raff show

On one of Hannibal’s best bits from his Live From Chicago stand up special, he addresses one of hip-hop’s most significant crimes – rappers performing over their vocals. In the bit, the Chicago-born comedian describes attending a RiFF RAFF show in Montreal – he also clarifies, he too had a show in Montreal.

“His DJ just played his music with the vocals, and he was just up there with a beer, chilling, listening to his songs,” Buress says in the joke. “And every now and then he’d come in, say two words and he’d go back. He got paid to vibe out to his own music on stage, which is good work if you can get it.”

He closes out the bit out by practicing RiFF RAFF’s technique for his own jokes. He has DJ Tony Trimm play a recording of a joke, during which he paces the stage and throws in some ad-libs, like Jody Highroller himself.

2. Hannibal’s bromance with Chance the Rapper

Hannibal Buress is one of the top comics from the  Chicago scene, so it makes sense that he’s bonded with one of the city’s best young rappers. Back in 2013, when the two were starting to emerge nationally as some of the most exciting performers in the respective fields, Hannibal and Chance collaborated on the rapper’s music video for “NaNa.” Before the release of Acid Rap, a YouTube account called JASH gave Chance and Buress $5,000 to make a music video.

Instead of spending the money on sets or props, Chance and Hannibal shot “NaNa” guerilla style and kept the money. In the clip, the two explore Chicago, eat deep dish pizza and go chain shopping. (A young Donald Glover/Childish Gambino makes a brief cameo and snags a slice of pizza as well.)

Since then, Chance and Hannibal have become good friends and have worked together several times. Hannibal has also appeared on Chance and Jeremih’s Merry Christmas Lil’ Mama mixtape and the Re-Wrapped second disc.

3. Hannibal gives life advice with Open Mike Eagle

Hannibal Buress first met indie rapper Open Mike Eagle at Southern Illinois University, where Mike was Hannibal’s resident advisor. The two built a friendship that would eventually lead to Mike giving the comedian his first rap feature. Hannibal drops a comically clunky 16 on Open Mike’s “Doug Stamper,” off of his excellent 2014 LP, Dark Comedy.

On the verse, Buress gives life advice about proper hygiene (“Wash your hands when you touch your little dirty dick”), not paying for porn site memberships (though he encourages you to pay for his comedy), and good dietary habits (“Eat your fruit fiber bitch or get constipated”).

4. Handsome Rambler’s best hip-hop guests

The Handsome Rambler podcast is an endlessly entertaining listen, from Buress’s hilarious non-sequiturs to the duo’s advertisements in the form of a heavily autotuned, improvised songs. The duo have also had some in-depth chats with excellent hip-hop artists including Run the Jewels, Jean Grae, Saba, The Cool Kids, DJ Premier and several others.

5. The time Hannibal pissed off JAY-Z and Beyoncé

Coolest thing I did yesterday

A post shared by Chance The Rapper (@chancetherapper) on

Forging friendships with some of Chicago’s most well-known and well-connected rappers has benefited Buress in many ways. One of the most notable benefits of his friendships with Chance the Rapper and Vic Mensa is getting the opportunity to meet Beyoncé and JAY-Z.

While at a Vic Mensa album release party, Hannibal took a photo of Vic, Chance, JAY-Z, and Beyoncé, who were all posing for photographers. While attempting to take the picture, JAY-Z told him to be cool, Buress explained in a clip for a digitally animated series called Storyville.

“The situation with a club is that it’s too loud to say what you want to say. Like, ‘nah, I don’t want to be cool,” Buress said in the clip. “This is a great picture. This is two friends of mine from Chicago doing well, and they’re hanging out with you, one of the biggest rappers in the world and your wife, one of the biggest stars in the world. I’m not gonna be cool.’”

“But I couldn’t say that because it was too loud,” Buress continued. “It would have been weird to yell that at JAY-Z. So I just took it… In my picture, you can see Beyoncé angrily pointing at me.”

6. Hannibal trades bars with indie rap’s power couple

Two of underground hip-hop’s most respected veterans Jean Grae and Quelle Chris announced in December 2017 that they were engaged. A month later, the two announced a collaborative LP, titled Everything’s Fine, and they released a single called “OhSh” featuring the lyrical stylings of none other than Hannibal Buress.

Buress’s appearance on “OhSh” is less laugh-out-loud funny than his verse on the previously mentioned Open Mike Eagle song, but his choppy flow sounds more at home on the trippy Quelle Chris beat.

“I ain’t got no fur coat, but I got a bookbag fulla Merlot,” Buress raps on the song. “I’m lyin, I ain’t got no f—— Merlot. I drink whiskey, but I do want a fur coat.”

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“My Dear Melancholy” is Bone-Chillingly Beautiful

Judging from the dark subject matter that has typified Abel “The Weeknd” Tesfaye’s catalogue to date–which includes rampant drug abuse,…

Judging from the dark subject matter that has typified Abel “The Weeknd” Tesfaye’s catalogue to date–which includes rampant drug abuse, his struggles as a homeless young-adult, and suicidal thoughts–few could have guessed that it would be his short stint with a former Disney Channel star that would leave him at his lowest. The Starboy crooner leaves little to speculation on his latest commercial release, My Dear Melancholy, a succinct six-song EP inarguably based on the fallout after his recent fling with pop star Selena Gomez. 

While The Weeknd’s anguish seems genuine and makes you feel for the guy, it’s impossible to ignore the glaring irony in his recent complaints, one, given Gomez’ goody-two-shoes persona, and even more so given the overtly misogynistic lyrics that Tesfaye is so well known for. Here are a few in case you need a reminder (no pun intended):

From the track “Party Monster” off of Starboy: “Woke up by a girl I don’t even know her name.”

From the smash hit “The Hills” off of the 2015 release Beauty Behind the Madness: “I only call you when it’s half past five, the only time I’d ever call you mine.”

Later on the same track, “I just fucked two bitches ‘fore I saw you.” 

Lastly, on the track “Reminder,” also off of Starboy: “When I travel ’round the globe, make a couple mil’ a show, and I come back to my city, I fuck every girl I know.” 

With that being said, musically, My Dear Melancholy is bone-chillingly beautiful. The Weeknd returns to his dark and cavernous House of Balloons roots on the project while still maintaining his newfound pop sensibilities. Rattling bass, slow, driving percussion, and subtle, haunting synths and keys cproductions. The production on most of My Dear Melancholy leaves room for Tesfaye’s vocals to take the driver’s seat, unlike that of the brighter and grandiose Starboy. From a lyrical standpoint, the EP is peppered with moving, weighty bars:

Off of “Wasted Times:” “I don’t wanna wake up if you ain’t laying next to me.”

Off of “Call Out My Name,” the opener: “I almost cut a piece of myself for your life,” a reference to Gomez’ recent search for a kidney donor

Tesfaye saves the best for last, providing the most melodically beautiful and lyrically clever portion of the EP on the closing track “Privilege,” as he repeats in a despondent, Vocoder-enhanced tone: “I got two red pills, to take the blues away.”

It is hard to deny the allure of much of The Weeknd’s work, regardless of lyrical content, due to the singer’s angelic voice and cutting-edge production. On My Dear Melancholy, Tesfaye achieves success from both a melodic and lyrical standpoint, substituting (for the most part) tales of apathetic sexual encounters for raw, vulnerable descriptions of his recent struggle with heartbreak. The Weeknd has finally found the middle ground between his groundbreaking, alt-R&B House of Balloons project and the poppy, Funk-infused Starboy. Lastly, to those Weeknd Stans worried about the Toronto star returning to normalcy, the singer explains on “Privilege:” 

“And I’ma fuck the pain away, and I know I’ll be okay…But I’ma drink the pain away, I’ll be back to my old ways.” 

Not to worry people; the Abel we’ve come to know, and love isn’t going anywhere.

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Cardi B’s Debut Album “Invasion of Privacy” Is Out Now

It’s almost a week since Cardi B’s debut album, Invasion of Privacy dropped. Her fans, the Bardi Gang, are more than…

It’s almost a week since Cardi B’s debut album, Invasion of Privacy dropped. Her fans, the Bardi Gang, are more than pleased with the LP, which has aldo managed to make those who weren’t fans, into new ones..

“I like proving niggas wrong, I do what they say I can’t,” raps Cardi B on “I Like It”

I can’t think of an artist that has had as bomb a breakout year as Cardi B has. She gave us the summer 2017 hit, “Bodak Yellow,” and since then, she’s been on the Billboard charts back to back (to back). The last ten months have been especially great to her, let alone this week. After releasing Invasion of Privacy, Cardi revealed her pregnancy with rapper Offset on “Saturday Night Live”; also, she was the first person ever to co-host The Tonight Show Starring Jimmy Fallon.

Invasion of Privacy is an upfront look into Cardi’s everyday life. She’s confident, vulnerable and full of witty remarks. Laced into 13 tracks, the newly minted Quality Control management signee made anthems for the rest of the year. “Get Up 10” sets the bar for what’s to come on the project. Inspired by Meek Mill’s “Dreams and Nightmares” intro, Cardi’s version is also broken into two parts about her ascension to the riches from the rags.

As well, the album includes “Bartier Cardi” with 21 savage, which recently earned platinum certification, and is still doing numbers.

 

Cardi B money moves on this album show her versatility. She dabbles into the trap sound with “Drip” featuring the Migos, shows her confidence and positive vibes on “Best Life” featuring Chance the Rapper, and gets very personal with “Be Careful,” a track addressing an unfaithful partner/boyfriend. Cardi is not the one to mess with!

Social media pundit-turned reality TV star-turned rapper is a way of saying that this girl from the Bronx, is made of grind and determination. You don’t have to like her music, the way she talks, or her persona, but you have to respect her hustle. She came from the bottom and executed her way to the top.

Listen to Cardi B’s debut album below.

<iframe src=”https://tools.applemusic.com/embed/v1/album/1368105671?country=ca&at=11l4Qg&ct=invasionofprivacy” height=”500px” width=”100%” frameborder=”0″></iframe>

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Scottie Jax Is Prepping Posthumous LP To Drop In 2100

This man is intent on leaving a legacy.

You may not have heard of rapper/producer Scottie Jax, but he’s been on and cracking for the better part of the last decade. His first solo mixtape Plan For Tomorrow (from 2009) was hosted by the illustrious DJ Lazy K and featured verses from some of the game’s most respected: French Montana, Max B, Styles P of the mighty D-Block, and the late Fatal Hussein of the Outlawz. He’s since released numerous projects, beats tapes, and — shit — even a videogame last year entitled Ohio Hustler.

But, Scotty is intent on leaving a legacy.

The largely self-produced artist has a new album in the works, entitled Future History; mysteriously (and cryptically), he refers to is as the “Scottie Jax album you will never hear.” He notes in his release details that it’s set to release in the year 2100. “I feel that it’s not about the person who leaves the legacy, but the legacy itself,” he writes. “I will no longer be living, so the least I can try to do is make the world a better place than it was when I was living on it.” There is no word on the platform he will choose for this LP — as there’s no telling if they will still be around. We can only hope he drops the LP long before that.

In the meantime (the very long meantime) you can check out a large portion of his catalog via Soundcloud.

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Kaiju The Unconquerable Returns With Ultraman Visual

Kaiju The Unconquerable is an alumnus of my #indiespotlight series from last year when he released “Episode 6″—a dope mini-movie…

Kaiju The Unconquerable is an alumnus of my #indiespotlight series from last year when he released “Episode 6″—a dope mini-movie that anyone into Anime/comics/ninja type shit should revisit. He just sent “Episode 7: Ultraman” my way, and it’s fantastic.

Related: #IndieSpotlight: Kaiju The Unconquerable Releases New Short Film

This time around, the story centers on Zenith, a 27-year-old Ultraman stationed in the US. He became an Ultraman after his father attempted to tamper with the gene and ultimately ended up dying in an attempt to distill and use its power. Fast forward; Zenith is the only one with this power (on this side of the world), and—in the course of the six-minute mini film fights a deadly alien, lighting up the NYC skyline in the process.

 
It’s, literally as rad as it sounds. From his Ultraman arms and mask—which are insanely cool—to his Ultraman letterman jacket, which I would kill for, the visual is engaging, not unlike his past material. He also directed it, which needs to be acknowledged.

Much like his previous work, which I discussed before, Kaiju’s image and music play off of each other but don’t depend on each other, at all. DOOM is DOOM, that’s his character. This song, for example, is a really dope song as a stand-alone; if you were to listen to just the song, you might take Ultraman as a metaphor–among many others in the lyrically dense track–and rock with it.

The video is what makes it literal. “Ultraman” is a really (really) good song, I can’t stress that enough. Kaiju may come across as niche if you peruse through his catalog, but he’s extremely accessible.

Recommend content—really sit with this one. Early!

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