Who is Lord Lu C N?

South Florida just blessed us with another gem. Producer Lord Lu C N recently dropped The U Album, a highly…

South Florida just blessed us with another gem. Producer Lord Lu C N recently dropped The U Album, a highly anticipated collaborative LP featuring members of Denzel Curry’s group, ULT (unity, love, and trust).

The album was hyped up for weeks leading to its release by none other than ULT’s Denzel Curry and JK the Reaper. The cover depicts the mysterious Lord Lu C N, who aside from his own Instagram account, has little information about himself on the web. Denzel Curry apparently goes way back with the producer, stating they were once neighbors on the song Zeltron Takeover. As a producer, Lord Lu C N just established his mastery of the genre.

The album’s production is its biggest strength, and everybody involved knows it. This is likely why it was released as Lord Lu C N’s album, instead of being ULT’s specifically. The album’s sound is reminiscent of Denzel’s first two albums, Nostalgic64, and the double EP 32 Zel/Planet Shrooms. It’s heavy hitting even on the calmer songs, and I personally have not heard an album that combines deep bass and melodic singing so well; not one song lets one overpower the other. Bang it on a speaker and the vocals are still crisp over the slapping bass. The album also finesses the deep distorted sound that Florida’s underground coined by artists like Raider Klan and Smokepurpp, branding it as the Sunshine State’s very own. Wavy at times and hard-hitting at others, this album is a true hip-hop head’s dream project.

But this is not a trap album. The vocalists on this project matched its sonic perfection with pure lyrical ability. While it isn’t the most socially conscious, every bar spit is meaningful. Most of the songs sound nostalgic, almost like ULT just had their first big reunion in support of Lord Lu C N’s official debut. That being said one surprising track stands out among the rest; Fuck Talib Kweli featuring JK the Reaper.

JK the Reaper is an MC from my hometown of Greensboro, North Carolina. Denzel Curry found JK sometime around 2013 to have him feature on Nostalgic64, and since then the two have released a decent number of tracks together.


The Kweli diss came about from a Twitter beef between the two when the Black Star rapper called out JK for nicknaming his crew, “Nazi Vampires.” The socially aware Kweli is known for stating his opinions on social media. He gained attention most recently for canceling a show due to the venue booking an alleged Nazi sympathizer black metal band as well. So it’s no surprise that he would be alarmed seeing another rapper name his group something so provocative.

JK wasted no time letting Kweli know how he felt about his sensible criticism on the hellish sounding diss. But the track, through literally titled Fuck Talib Kweli, does include parenthesis calling it a “diss track to old ass rappers.” So maybe Kweli is being dissed more symbolically than personally…at least that’s what I’ll tell myself.

All around the album features a wide variety of vocalists and production, making it a great listen. From melodic singing to raw ass bars, it delivers on all fronts. Lord Lu C N made this so you won’t forget his name, and I certainly hope he continues reappearing with Florida rappers and others alike.

Here’s a full list of every vocal artist featured on the project: Denzel Curry, Anna Wise, Nyyjerya, JK The Reaper, Savannah Cristina, Leaf, Deniro Farrar, Yoshi Thompkins, Chris Star, Stealmybeats.

Currently obtaining my undergrad for Film & Media Studies in beautiful Tampa Bay Florida, I love hiking, biking, rock climbing, surfing, and most importantly: hip hop. My favorite rapper is MF DOOM and my top writer is Hunter S. Thompson.
Related Articles

Logic – “Contra”

Continue Reading
Main, Reviews

“Ye” Fails To Reintroduce Mr. West

At times, Kanye West’s polarizing media posturing is his strongest attribute. We can’t wait for the next idiotic gem to…

At times, Kanye West’s polarizing media posturing is his strongest attribute. We can’t wait for the next idiotic gem to rattle between his ears and tumble from his lips. That noise is great content; filling blog pages and gossip sites, sparking debate across social media and music platforms. But after a casual listen to Ye, his newest disaster, does his brand of pigeonholed creativity matter anymore?

This perpetual media circus is where Kanye operates best. He’s a freewheeling spirit; a madman at the boards, a producer with infinite vision and a MC with a caustic tongue. He’s a master at manipulating a turn of phrase while simultaneously dumping the world upside down-remember when he flippantly suggested that slavery was a choice? This sort of buffoonery is exactly what West has spoon-fed the public for the past few years; and still the world anticipates his every chess move with a panicked FOMO that only Kanye can induce.

West has mastered the art of celebrity, where nothing is sacred or left to our imagination. He lays low only long enough to manifest his next move. The past few months have been no exception. He’s been holed up in Wyoming and Utah crafting a series of projects aimed for release this month. Among them is a collaborative record with Kid Cudi, Ye,  Pusha-T’s Daytona, and an as-yet-untitled record from Nas. Kanye is apparently producing seven songs for each project, digging for samples through some 2,000 vinyl records he purchased and shipped out west.

This most recent version of Kanye is the one we cannot stop talking about. These days we’re constantly confronted by Kanye the enigma- the uncanny fool who can’t dislodge his foot from his mouth- until he releases new music. His art has a timely way of silencing the shit talking; of zeroing the critics back to his inevitable genius — which brings us up to speed in 2018.

Kanye’s production on Daytona will be ranked as some of the year’s best. On the flip side, his newest offering — the slim and trim Ye — is an unbalanced and easily forgotten mess. At a running time of twenty-three minutes it’s chaotic and disconnected, attempting to borrow the best working bits of The Life Of Pablo and Yeezus while ignoring any of the soulful introspection and self-depreciation that made us fall in love with the Old Kanye ages ago.

Take the album opener, “I Thought About Killing You”, for exactly what it is and you won’t be let down. West, the egomaniac, nervously vents about his punishing mental illness and nagging insecurities while never allowing the listener a second to process or feel what he’s living through. The song serves as a false entrance to a world that’s as contrived as the album cover, and hardly as deep as the internet will lead you to believe. Is Kanye really the poster boy that mental health is looking for? He certainly wants you to believe so.

For the album’s actual release, West invited hundreds of “influencers” to Wyoming for a listening party- the industry’s equivalent to a real time gallery walk. Kanye took his show on the road, and in the meantime alienated himself further from the culture he’s spent years crafting and molding into something people once truly believed in. Rather than hitting any impactfulmark by relocating his camp to The Equality State, he created an even larger gap between us and them.

Ye can’t help but put a serious divide between Kanye and his fans. There are moments that work, like the beautifully crafted “Ghost Town”, featuring a rejuvenated Kid Cudi and an incredible hook courtesy of 070 Shake (a star in the making), and the bouncy and biting “All Mine”, which contains plenty of chuckle-worthy bars like “I love your titties because they prove I can focus on two things at once”. But those moments of silly bliss are buried beneath cringe-induced, head scratching blunders which normally aren’t the defining moments of any Yeezy album.

By the time you get to the albums final three minutes, where Kanye recognizes his role as a father to little girls on “Violent Crimes”, you desperately want to believe in Ye, but the damage is done. Kanye West doesn’t want to get out of his own way, andhe might be too far gone trying to create, recreate, and monetize his Calabasas world to make something we can honestly believe in as common folks in 2018.

Kanye’s fall from grace is a marvel; complete with a public breakdown in 2016, a few hobo-chic fashion interludes, and a baffling reemergence into our consciousness with a pledging of love for Donald Trump. It’s without a doubt one of the strangest stories in all of popular culture. The problem is, Ye fails to captivate us as a re-introduction to Kanye West and this new chapter in his saga. It’s lackluster at best, which is a bar that’s far too low for one of hip-hop’s true trend setters.

Ye comes and goes without a single memorable moment. It’s all smoke and mirrors. Instead of debating the quality of the final product like we have so many times with Kanye releases in the past, we’re left with a mediocre soundtrack and the hollow images of famous people in Wyoming dancing around a bonfire.


Continue Reading


Lifelong rapper, artist, and fashion mogul A$AP Rocky has at long last delivered his third album: TESTING. The project was…

Lifelong rapper, artist, and fashion mogul A$AP Rocky has at long last delivered his third album: TESTING. The project was quickly overshadowed by Pusha T’s synchronized drop that sparked beef with Drake, but still maintained relevancy with mixed reactions from fans and reviewers.

The project opens with an uncharacteristic bang on “Distorted Records,” and then settles in with a feature heavy remix of “A$AP Forever.” The next three tracks feel like a return to his previous album with trademark Rocky flows that lead into an interesting acoustic track featuring Kodak Black through a prison phone. The rest of the album seems to find its own voice and ends on a strong note with Flacko and Frank Ocean rapping over a distorted Lauryn Hill sample. Most had a positive reaction to Testing but some people claimed it was overhyped and even disappointing.

At first listen Testing is honestly hard to get through; it’s a dense project. This may have caused some people to write it off as lacking much progression from his prior work. But Testing is only dense because it’s Rocky’s most mature project to date. At 29 it seems as if the rap legend has finally honed in on his “too cool for you” style without even having any super notable lyrics. Flacko nails his verses on more experimental songs with consistency and swagger in place of lyricism. On tracks like “Brotha Man” and “Purity,” Rocky can be heard spitting/singing with the help of notoriously experimental artists Frank Ocean and Dean Blunt, but reels listeners back in with slaps like “Praise the Lord” and “OG Beeper.” The intro song to the album, “Distorted,” doesn’t seem to fit the project or introduce its vibe too well, but as a stand alone song it’s pretty decent.

And despite the awkward first track, once you’re a few songs deep the album does become cohesive. Rocky makes sure to pay his tribute to Bone Thugs and Three Six Mafia by blending in some chopped and screwed instrumentals, and somehow complements them with acoustic guitar and singing. It was this combo that really made Testing distinct from his previous work.

Overall, compared to Rocky’s electric, Ciroc infused debut album LONG LIVE A$AP, this project is more like a fine wine. I predict Testing will age better than his first two records because it’s scattered with gems that will easily skip your radar in the first few listens.

My favorite songs from the project are: “Praise The Lord (Da Shine),” “Brotha Man,” and “Purity.”

Continue Reading

HSVN – Changes (LP)

Continue Reading
More in Main
Drew Banga Drops Vibrant New Single “Multi Color”

  After garnering over 730k Soundcloud plays with Kamaiyah’s 2015 smash hit “I’m On,” Oakland-bred Drew Banga is in full...