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Ahhh….since the first time I heard the sounds of “Soul Louis” a few years back Detroit’s Foul Mouth has gripped my radar well simultaneously reserving real estate inside my busy playlist. Now a brand new collection of instrumental ear candy is en route via “The Snake Pit“. A new beat tape destined for the digital sound waves everywhere June 26th. In anticipation of that project – Foul Mouth has gifted us with some sneak peak visuals in the form of “Ghetto Speak“. Sitting on the stairs of the legendary Hitsville U.S.A. Foul Mouth gets up and travels through the city with the sounds of “Ghetto Speak” narrating the journey.

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Detroit Producer Apollo Brown Drops Video For “Kite Strings” From His New Instrumental Album “This Must Be The Place”

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Apollo Brown’s latest solo album, This Must Be the Place, is out everywhere. Now he’s released the video for “Kite Strings.” A master of melancholic productions, Brown pairs cavernous drums and striking metallic hi-hats with spooky choral vocals and shimmering keys on “Kite Strings.” The result is dark and fantastical with glimmers of joy, an artful encapsulation of the fall that could double as the score to a Ray Bradbury adaptation. Directed by Uzair Ahmad, the spooky animated video moves between ultra-modern and alien worlds via flashes and streams of vibrant colors and psychedelic patterns, a pair of disembodied hands orchestrating the journey. It’s a visual metaphor for This Must Be the Place, where Brown sonically guides listeners to uncharted sonic territory. Watch the video, play the album, and take a trip.

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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

“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

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