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MoneyBagg Yo ”2Heartless” Review

The rapper’s latest project, fittingly titled 2Heartless, is clearly directed at those that want to see Moneybagg fall.

In a radio interview with The Breakfast Club last Monday, the menacing baritone Trap rapper Moneybagg Yo —whose garnered a national following since his Federal 3x mixtape debuted at #5 on the Billboard 200– told host Angela Yee, “when I was broke…it might sound crazy…but I kinda liked it better.” The Memphis-native is currently embroiled in disputes with rappers Ralo and YoungBoy Never Broke Again.

“Moneybagg Yo tried to pay a [club promoter] $7,500 to not let me [perform],” Ralo said in an interview with Vlad TV. “what kinda s*** is that?” The rapper recently released a diss track aimed towards Moneybagg titled “Trending.” While once on good terms, YoungBoy Never Broke Again also dismissed the rapper and claimed on Instagram that payment was never settled regarding a collaborative project released this past November. ”[Moneybagg Yo] was my brother now f*** ‘em,” YoungBoy said.

“When I was first coming up, I didn’t feel no love in the streets,” Moneybagg Yo told The Breakfast Club. “I’ve seen the game for how it really was, and how fake it is, and now…I’m just…I’m too heartless.”

The rapper’s latest project, fittingly titled 2Heartless, is clearly directed at those that want to see Moneybagg fall. “They try their best to provoke me, the killer want to be relevant,” Moneybagg growls on the opening bars of “Black Heart,” a minute-long opener that addresses the attempt on his life at a New Jersey rest stop this past August. The following track, “Bigg Stacks,” demonstrates a fluid Moneybagg in his element regardless of all that’s transpired against him this past year. While the theme of the track centers around the rappers lavishes, Moneybagg still sprinkles in verses aimed at his haters in New Jersey, “They want my spot and don’t deserve it, can’t forget that. Who you hittin’ at? How you miss that?”

While those sifting through the 18-track project for Trap anthems will find plenty of offerings —most notably “Black Feet,” a BlocBoy JB assisted track that finds both artists in top form— Moneybagg’s heavy heart consumes the majority of the project.

On “Fed Babies,” a track assumed to be aimed at YoungBoy Never Broke Again, Moneybagg raps: “How you cross me? We come out the mud…can’t believe it came to this here. I really thought s*** was sincere.” While the dark maroon middle fingers that pop from the album cover paint him as emotionally detached from the feuds that have consumed his career, he presents a deep vulnerability that Yo Gotti — another Memphis-born Trap rapper who signed him to his CMB label this past October — would be proud of.

“Lift me up and hold me down more, if love ain’t here then what you around for?” Moneybagg sings to a fleeting lover on “Ion Get You.” On “Scars” the rapper sings, “If you take away all this fame, all this status, all my name…Strip the diamonds out these chains, I wonder who gon’ remain.” Moneybagg Yo is a rapper that wears his heart on his sleeve, and his latest project exudes the anxiety that consumes Moneybagg as he comes to term with mortality. Tracks like “Secrets” and “Walker Holmes” paint a portrait of a man consumed by regret. “They said it was love, I couldn’t see it. I was too blinded by the hatred,” Moneybagg sings on the later regarding a falling out with a friend.

He preaches about his need for partnership so often throughout the project that when he dismisses love and affection— such as on the cringe-worthy “Perfect Bitch,” where the star raps about his desire for polygamous relationships— it comes off as disingenuine, as if he’s trying to fit an archetype rather than be himself. Artists before Moneybagg have discussed the troubles with being famous, but 2Heartless, which was released on Valentine’s Day, seems like a melodramatic call for help more than the definitive statement Moneybagg intended it be.

“Kevin Gates told me to stay focused, don’t get out your element,” the star raps on “Black Heart.” At 26, Moneybagg Yo is overwhelmed by all that fame has brought, and his need for self-growth echo a relatable conflict. How do I grow as a person when every action is under a microscope, and how do I not end up alone?

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#IndieSpotlight: Dough the Freshkids’ ‘Black Rome’ Is A Buzzworthy Slice Of Hip Hop Goodness

There have been many eras in Hip Hop, but none as forgotten as the Nubian era, which was characterized by…

There have been many eras in Hip Hop, but none as forgotten as the Nubian era, which was characterized by a heightened sense of knowledge of self and anti-oppressive forces that be. The ironic commercial appeal of empowering groups like Public Enemy or Brand Nubian eventually morphed into the current era where “rap” has become a business move/career choice rather than a voice of the underdog filled with subversive talking points that rival university lectures.

This is what I found so intriguing about the new project Black Rome by Dough the Freshkid — representing Crenshaw, California. The follow up to his free tape Six Shots and released via his independent label Every Penny Count, the 15-song effort is a blend of vibes, ranging from an early millennium G-Unit mixtape structure (see the chorus on “Cookin’”), 90s east coast soundscapes (see “We Rich” with its scratch hook), to deeply reflective contextual content aimed at giving opposing viewpoints to widely accepted “fact.”

 
An example of this is the title track, which focuses on the idea that a false image of “white Jesus” was shaped by artist Leonardo DaVinci. Its execution is reminiscent of similar records, such as “Why Is That” by BDP and “Nature Of The Threat” by Ras Kass. This song could literally be transcribed into an incredibly compelling University level essay.

 
Elsewhere on the record, he traverses themes such as the (historical) political and social-economic climate in the United States (see “God’s Curse” verse two) to gang life in LA. Nothing is ever glorified, and everything comes off as methodically thoughtful. On the track “I See He Blued Up,” he addresses industry Crippin,’ as well as unnecessary killing in the streets. “Man up, out the choppas down and out your hands up,” he raps, pointing to the glorification of needless gun violence.

 
Some of the standouts include the gorgeous instrumental that rides with the top down on “Palm Trees II” featuring Tropic626— which I found myself revisiting quite a few times this week — and the unspoken dopeness of “Still Arlington (1994)” which featured Wee Dogg.

“I never promote crack in my raps, I only promote facts in my raps,” he implores as the project comes to a close with the dramatically honest, autobiographical “Sincerely Me.” Even at its most informative and reflective, Dough manages to make this project an incredibly digestible gem packed with lots of wisdom and great talking points. Worth a spot on your end of year playlist if you’re looking for some undeniable fire that is still creeping under the radar.

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Outside The Box: Discover The Positive World Of Krhazey Whytheycallhimthat

Every once in a while you come across an artist who falls outside the box of industry convention; by that…

Every once in a while you come across an artist who falls outside the box of industry convention; by that I — of course — an artist who doesn’t seem motivated by the basics that have poisoned the soul of the culture. An artist that puts his music first. Brooklyn MC Krhazey Whytheycallhimthat is one of those artists. “A positive change in consciousness has the power to topple barriers almost as easy as a negative change creates them,” he tells AAHH describing his mantra for creating.

If that doesn’t create an immediate sense of urgency for his music, then I don’t know what to tell you.

Off the bat, there is something endearing about his admirable need for not only a purpose but to give back. Early on in his career, he began volunteering his time — and his unique brand of Hip Hop to the 25-year-old Art Start. The program dedicates itself to New York City’s underserved youth, delivering consistent creative workshops inside homeless shelters, alternative to incarceration programs, and partnering youth agencies.

“The program gave me a sense of direction, understanding and a hope for change; real change in myself and my environment,” he says.

 
What I find so cool about his music is the way that it all seems to contrast and compliment itself at the same time. His latest joints are a great example. “Jack Frost” for example has this bouncy ballad behind it, paired with these haunting lyrics that have this almost literal intention of describing this cold-heartedness developed though…well…life. Then there’s “23:5,” which has this almost “Marvin’s Room” feel to it — complete with a call to his ex. But it spirals into this realization that the liquor is a crutch, followed an aggressive assertion of the path before him.

Then the vibe of his latest “Makeda” is a pseudo-love track with hella depth, and again a completely different vibe.

Everything I hear from this kid I like. Even going back to the summer, with his super dope single/video “BTD,” with it’s kind of goofy visual concept.

 
Without being driven by the same old, his music has this certain unspoken originality to it. Even the fact that he rocks an anime-inspired kung-fu headband ends up coming across like DOOM’s mask in a sense. It’s hard not to get into.

And the spirit of giving back, which inspired him to start his own foundation — Young Heroes Undefeated — is an added layer that makes you want to root for him. “We make original comic books for children with special needs and use the profits to send the kids and their families on all expense paid vacations,” he explains of the foundation’s mission.

With a four comic series being released next year — on top of a solo LP and a project from my his Audio Temple — there is a lot to look forward to here. He’ll be launching a kickstarter for his foundation in coming weeks; stay tuned to our Instagram for details on how to support something positive.

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#Indiespotlight: Prototype & Lazarus The Kid’s ”Voicemail” Is A Journey Worth Taking

Duo Prototype & Lazarus The Kid Just dropped a new project, and believe me, it’s worth a spin. On a…

Duo Prototype & Lazarus The Kid Just dropped a new project, and believe me, it’s worth a spin. On a rainy day, I rode around giving this one a fair shake and was taken for more of a journey than I expected. 

The concise EP is immensely musical, with these lush, expansive musical landscapes for Prototype to literally bleed his heart out upon; there is no hyperbole in the emotion packed within these five tracks. Atop soulful samples, energetic drum patterns, and pretty piano keys, there’s a sense of loss and sadness that lingers amongst the celebration and assertion of the dream chase. 

Immediately on the heartfelt “Color,” we’re introduced to demise of a powerful relationship in Prototypes life — one which he gave his all to, and once thought would possibly end in marriage. It’s a loss that is later encapsulated with an emotionally charged piano interlude brimming with a heavy-hearted sense of despair. 

There’s also the loss of Jason Kalinga, who is actually featured “Simba.” The second verse of “Better Way” is a letter to his lost friend, who was another powerful figure in his life.

Amongst the deep moments standing as an endearing open book into his world, there is an incredible sense of confidence; Prototype is chasing the vision in his head — and it’s hard to imagine anyone attempting to detract him from his vision after taking in this project. 

Ending off with the crown jewel, “November 15,” Prototype & Lazarus The Kid position themselves as exciting artists putting out music with not only a purpose  but a strong sense of its emotional connection. They know what they’re doing, and it’s something that hinges more on the artistic merit side of things than the trendy shit. This isn’t for cool points, it’s a therapeutic listen made for longevity. This is a catalog worth keeping an eye on.

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#IndieSpotlight, Main

#Indiespotlight: Prototype & Lazarus The Kid’s ”Voicemail” Is A Journey Worth Taking

Duo Prototype & Lazarus The Kid Just dropped a new project, and believe me, it’s worth a spin. On a…

Duo Prototype & Lazarus The Kid Just dropped a new project, and believe me, it’s worth a spin. On a rainy day, I rode around giving this one a fair shake and was taken for more of a journey than I expected. 

The concise EP is immensely musical, with these lush, expansive musical landscapes for Prototype to literally bleed his heart out upon; there is no hyperbole in the emotion packed within these five tracks. Atop soulful samples, energetic drum patterns, and pretty piano keys, there’s a sense of loss and sadness that lingers amongst the celebration and assertion of the dream chase. 

Immediately on the heartfelt “Color,” we’re introduced to demise of a powerful relationship in Prototypes life — one which he gave his all to, and once thought would possibly end in marriage. It’s a loss that is later encapsulated with an emotionally charged piano interlude brimming with a heavy-hearted sense of despair. 

There’s also the loss of Jason Kalinga, who is actually featured “Simba.” The second verse of “Better Way” is a letter to his lost friend, who was another powerful figure in his life.

Amongst the deep moments standing as an endearing open book into his world, there is an incredible sense of confidence; Prototype is chasing the vision in his head — and it’s hard to imagine anyone attempting to detract him from his vision after taking in this project. 

Ending off with the crown jewel, “November 15,” Prototype & Lazarus The Kid position themselves as exciting artists putting out music with not only a purpose  but a strong sense of its emotional connection. They know what they’re doing, and it’s something that hinges more on the artistic merit side of things than the trendy shit. This isn’t for cool points, it’s a therapeutic listen made for longevity. This is a catalog worth keeping an eye on.

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