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BEAT TAPE

“Detroit Monster” by The Davis Way

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In a highly competitive market like Detroit, you know if you even dip your toe in the pool of music you better be ready to swim. Guided by a slightly different approach than normal, frequent listeners of The Davis Way will immediately grasp he has “the right gear ready” to navigate the water.
His latest offering, “Detroit Monster”, is a glimpse into the world he describes as “cinematic hip hop”. The instrumental project blends the natural elements of that genre, accompanied by operatic themes and haunting vocals. Basically, The Davis Way serves as the maestro on this well-crafted journey.
The album opens with “Foreseen”, representing not only changes in his own music but the lack of attention some of his peers gave to the actual BUSINESS of music. That same business could potentially see any of these tracks garner attention for sync licensing. The mood continues on “Veil Of Tears”, a track inspired directly by a conversation via DM he had with someone about record labels being monsters. In a plot twist, the DM he received could also be perceived as a “monster”.
With additional titles such as the “Bully With The Beats”, the album title track (Detroit Monster), and “Breaking Hearts & Faces”, you can pretty much tell The Davis Way isn’t concerned with the “so-called monster” because he feels “we have the knowledge” to prevail over negativity. “Global Dominance” would be the perfect background music for the rise and “Resurgence” of independent artists not only making great music but empowering themselves through education of the business.
“Detroit Monster” is more than a cinema. It’s a wake-up call for producers to expand the horizon and continue to build their craft.

FB- Facebook.com/TheDavisWay
IG- Instagram.com/The_Davis_Way
Twitter- https://twitter.com/TDavisWay

BEAT TAPE

“Refreshingly Crisp Sonic” New Beat Tape from Sapiano Sounds

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C O N S I S T I N G  O F  1 0  D I V E R S E  T R A C K S , S A P I A N O
H A S  C R E A T E D  A L L  T H E  E L E M E N T S  T O  B E C O M E  A
T I M E L E S S  P I E C E  O F  A R T  T H A T  C H A N G E S  T H E
L A N D S C A P E  A N D  F E E L  O F  F U T U R E  H I P H O P  A N D
R & B .  S A P I A N O  S A Y S  H E  I S  H U M B L E D  T O  H E A R  T H E
P O S I T I V E  R E A C T I O N S  T O  T H I S  P R O J E C T  A N D  I S
F O C U S E D  O N  L E A V I N G  A  L A S T I N G  I M P A C T  O N

F U T U R E M U S I C

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ALBUM

Dubterraneous One Be Lo-Fi and instrumentals

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One Be Lo “After digging through my ‘90’s tape collection, I found old loops, samples & unreleased beats that I haven’t heard since cd’s became the popular format. The first batch of records (Inherited from my Stepfather…Ok maybe I borrowed them…Maybe I just took the records and never gave them back, but he didn’t have a record player any more so they begged me to spin time with them.) I ever chopped, are on these tapes. In the beginning when I first started making beats, I didn’t own any equipment besides a tape deck. I recorded samples from vinyl onto cassette so I could dissect them in my Walkman or in the car on the way to the studio with Decompoze. We booked sessions with D.L. Jones, and chopped the records in his basement. He had the ultimate set up which included the Akai S950 rack model and the infamous SP1200. We brought the records over, told D. L. where to chop, add drums, sequence, then put on tape so we could go home and write rhymes. Usually the sessions were 4-5 hours and we always left with 2 beats each. That period lasted around 2 years, then we eventually started making beats on the MPC 2000 XL.”

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BEAT TAPE

“Instrumentals to Commit Crimes To” By Sin Crawford (Short Film) Beat Tape

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"Instrumentals to Commit Crimes To"

Instrumentals to Commit Crimes To is the first installment of producer Sin Crawford’s new instrumental series. His production style is reminiscent of the old with gritty sonics over dusty drums that create an immense listening experience. Sin uses dialog as a fixture to glue the project together and tell his story without using words. The introduction into the underworld titled “The First Day I Met You” sets the stage of the album over a somber yet aggressive soundscape that lets you know his foundation and entrance into the game was met with resistance that Sin embraced with open arms. Pay dudes featuring international saxophonist Randy Resnick is a standout track from the album. The stage is set to let you know that paying dues comes in many different ways. Randy Resnick’s impeccable skill on the saxophone is evident as his Melodie’s drive the song to a hypnotic point. Sin Crawford delivers a stellar listening experience that will have the listener engulfed from start to finish. 

https://orcd.co/sincrawford

 

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