unsigned hype

Vegas Rapper Real Talk Is “The King Slayer Turned King”

The best part about being a writer is discovering dope new music; this week I was put on to an…

The best part about being a writer is discovering dope new music; this week I was put on to an artist who—though far from new—was new to my radar. Chicago-born Real Talk The Metaphor Messiah, currently living in Vegas, dropped a new project entitled King Slayer Turned King, and I’m here for it!

At seven songs in length, the record feels kind of like tuning into season six of an HBO series and hoping to catch on. Not that you get lost—as there isn’t any continuity-based conceptual songwriting happening. Instead, he is exceptionally polished, lending to the fact that this isn’t his first project, and much of the non-rapping dialogue focuses on his legacy.

I did some digging around before giving the LP a third spin; he has a lot of great material in his catalog; what stands out is his diversity, traversing empowering content, social commentary, and good old fashioned bars. It doesn’t necessarily subscribe to a particular lane, so I’m having a difficult time making specific comparisons, but check out these records for a great idea of what he’s on.

 

“A lot of artists come out and only talk about one thing … and that one thing isn’t something they live.”
—Real Talk

Now, a few facts that will add context to his new project. First is his relationship with producer Geesus. “[We’ve been working together for] about ten years … he’s been doing my beats for a long time, and he’s my best friend,” he tells AAHH. This is vital, as he produces most of the LP, and he also has an interlude.

The second fact, back in 2016 he lost his eyesight for about seven months—something he overcame after having surgery to reattach his retinas. It’s something that comes up quite a bit on the project and isn’t just a metaphor…it’s a literal reference to an experience that profoundly changed his outlook.

“God MC’s don’t die,” he states on the outro of the opening track, “Hip Hop Is Mine.” The record has a serious bop—and Real Talk is in his pocket off the rip. His bars and delivery are on point. “Niggas all fake fucking You-Tube rappers,” he raps.

“War Games” is another standout. With a super interesting instrumental—the sample almost has a regal feel to it.

“Baal” is a dope track; Real Talk has a 90s Hip Hop influence—and this instrumental and flow highlight that. This one was (according to what I’ve been able to ascertain) was the first track he laid down following his Euro tour.

He gave this one a visual treatment, check that out below.

 
Look, at seven tracks (a few of which are interludes) it’s a light listen that begs for a few complete run throughs. His catalog of visuals are impressive; not only is quality there, but the plays are crazy. Also—again—he’s touring and making noise. As the project ends with the piano-driven title track, he solidifies himself as a voice that will lead us to the “truth.” Whether or not you honestly believe that, he’ll point you in a different, more positive direction than plenty of records forced into your personal space.

Give it a spin.

Riley here — father, artist, videographer, professional writer and SERIOUS hip-hop head. I'm a member of the Universal Zulu Nation, and I think everything is better on vinyl. Add me on Twitter! @specialdesigns
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unsigned hype

Butta Beats Riding The Revolution On His New LP

ButtaBeats has 18-years in the game, and lyrically it shows. What’s dope about him is his consistency. He is quick…

ButtaBeats has 18-years in the game, and lyrically it shows. What’s dope about him is his consistency. He is quick to point out that topics that swirl around inequality, social injustice, and black power have been present in his music since the mid-2000s; America being America today, his messages now seem to have not just a place, but a particular potency that makes them all the more powerful. The Revenge of Charles Martin is an enjoyable listen. Blending social commentary with gritty first-person accounts of street life, he delivers a lyrically consistent — though sonically varied — body of work.

“My family, the people that are just like me, have been going through this shit forever,” Butta notes on the intro. He concludes the thought by biting that as an eighties baby, he felt as though perhaps he had “arrived,” and that the troublesome race relations of the past were somehow behind him (them). That isn’t the case, and it’s a theme he gravitates to off the jump. The title-track is bars on bars (on bars) of incredibly self-aware pro-blackness mixed with streetwise knowledge-of-self and industry jadedness.

“This is revolution, man, drink that shit responsibly,” he raps.

He keeps this energy throughout, but his beat selection takes some twists and turns. The trap vibe of “Live Stream,” the reggae splash of “Champion Sound,” the soulful piano on “Right Away,” and the straight-up West Coast knock of the “The K Weeze Session,” make for an ecclectic journey.

There were some standouts, the piano-driven “Climate Change” has — in my opinion — his best schemes on the project. “I move through these smoke-filled rooms, 16s lift you out of the tomb, pull these young dudes out of the womb … feed them knowledge from right out of the spoon, cause you are exactly what you consume or listen to,” he raps. Flame emojis galore.

“Dead Already,” which explores the realness of street life — and how fake rappers can be — and “Diaspora” with its theme of misplaced love and betrayal also really shine with the beat selection and bars.

“They Know” is the odd man out; the album outro is dope, but came out of nowhere.

The industry is built to keep this kind of wokeness out of the mix. With acts like Tekashi69 pushing a brand of normalized self-destruction and gang culture into the forefront, the game lacks the type of balance that Butta Beats provides. I mean, the sheer fact that he replaced all the ‘N’ words with Ninja says something about where his head is at.

The Revenge of Charles Martin is lyrically dense, and worth a spin or two. Press play.

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unsigned hype

The Russian Hack Job Delivers With Hazy New Single

Missouri super-group The Russian Hack Job have spent a considerable amount of time producing and writing music for others, but…

Missouri super-group The Russian Hack Job have spent a considerable amount of time producing and writing music for others, but now — for the first time — are concentrating on their own music. Their self-titled EP is in the works, and their first drop from the project, “James Harden (Riding Rockets),” is an exciting look (and listen) at what’s to come.

The group — made up of emcees AcidTone and Tripp, as well as producer Makarov — delivers a hazy high (as fuck) anthem that was a focal point of our 4:20 here at the office. “James Harden riding on a rocket … Martians driving in the cockpit,” Makarov chants in the chorus. AcidTone and Tripp have differing, yet complimentary cadences that play well off of each other.

 
Makarov, who has a healthy track record of crafting regional hits and working with some heavy hitting producers in the game like Trakstarz and Vassal Benford, comes through with a bassy banger with a spacey distorted vocal sample that is absolutely banging. It’s built for late night cruising with the windows down; the vibe is delicious.

There is no set release date for the full project just yet, but this first single is dripping with promise; get on board with this trio.

Early.

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unsigned hype

Tae Smooth Collects His Life Experiences On His Debut LP

Charlotte, North Carolina, rapper Tae Smooth likens himself a citizen of the world — having traveled every continent except Antarctica….

Charlotte, North Carolina, rapper Tae Smooth likens himself a citizen of the world — having traveled every continent except Antarctica. He’s also a veteran having served in Afghanistan. His globe-trotting has peppered his work with a unique worldwide flair. A humorous story is that he credits a trip to Thailand with the instilling in him the confidence to create music.

“A local shopkeeper asked me if I was a rap star,” he says with a laugh. Not one to shy away, Tae played along and laid down a quick 16 bars to a receptive crowd. That’s when he knew music was his calling.

His debut, Smooth Way Out, is an amalgamation of Tae’s life thus far — from the streets to the battlefields of Afghanistan. The LP’s message is distinct: the smooth way out of a [particular] situation may not be the easiest one; but, it’s an effective one. “There are two ways to get your voice heard, it’s about music and politics, and I’ve always stuck by that,” said Smooth. “Everything is art. Your expressions are your art, and mine happens to be my voice.”

Check out the latest visual for “Payback,” the project’s first single, below.

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unsigned hype

Royce Ripken’s Long-Awaited Debut Delivers

After building a pretty notable buzz with his first four mixtape releases, emcee Royce Ripken, formerly Stretch Dinero—aka Supastaxx—has finally…

After building a pretty notable buzz with his first four mixtape releases, emcee Royce Ripken, formerly Stretch Dinero—aka Supastaxx—has finally released an official full-length debut, Home Run Ripken.

The 13-song affair is seemingly scattered regarding contextual content, but it is—after a few top to bottom listens—actually entirely cohesive, and packed with a balance of motivation, hype, and tunes for your girlfriend (see “Double Up”). Though the production credits aren’t front street, this man needs to buy his team a few beers, it sounds great.

Now, let’s break down the highs and lows; we’ll start with the standouts. “Flame Out” and “Run It Back” are his best attempts at generating an anthemic vibe on this LP. “Grand Slam” also deserves honorable mention. Lyrically on all three, he packs in as many smart punchlines as possible and then unleashes super catchy choruses. Sounds simple, but it isn’t. Earworms are an art.

Zac Alan’s chorus on “Run It Back,” with its grungy distortion in the high-end has an alternative vibe that feels top 40 radio ready.

If tasked with naming a top 2 on this album it would hands down be “They Want The Real. Pt. 2”—the most intimate point on the LP—and “Jiggle,” with it’s sped up Ellie Goulding sample. Throughout the project, he alluded to street life at a few points, but “They Want The Real. Pt. 2” is the first time that he seems to let you in, discussing his time in the streets, being locked up, and his daily struggle to stay on the right path as he explores his career in music. It’s more retrospective than descriptive.

“Jiggle” is way less profound, but garnered about 15 plays in a day on my phone. That beat is Fuego.

There are few actual low points on the project. He is an intelligent guy—lyrically—so “That Bag,” when compared to the (kind of) avant-garde thinking of “Catch These Fists,” seems pretty necessary.

Overall, though, it’s a respectable debut from Royce Ripken, and sure to set him on the right path!

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