Image credit: ALC

Legendary producer The Alchemist has a serious banger on his hands with the new single “Fork In The Pot,” a new collaboration that matches fellow west coaster ScHoolboy Q with Buffalo soldiers Westside Gunn and Conway. Below lies a new visual for the cut, courtesy of Jason Goldwatch (one of my favorite directors ever).

Also: make sure to check another track from Al, Gunn and Conway titled “94 Ghost S***.”

Suggested Articles:

The Alchemist & Wiz Khalifa Team Up on “Universal Studios”

Jay Worthy & Alchemist Join Forces on ‘Fantasy Island’ EP

The post Alchemist Recruits ScHoolboy Q, Westside Gunn & Conway for “Fork In The Pot” appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

By: J-Haze

Pittsburgh rapper J-Haze, has released a fire new track titled “Hussein On Cocaine.” As a signee to Iconic Music Group (headed by Nashawn of Dreamchasers/Roc Nation), Haze knows a thing or two about hard work. His passion for storytelling and sharing honest, raw material, is directly conveyed throughout this track.

Featuring New York rapper Conway and Boston rapper Omari, this single is truly one of a kind. The popping beat mixed with the ethereal harmonies of a female’s voice in the background works perfectly with Haze’s strong, confident bars. Pittsburgh definitely has a jewel on their hands with this emcee.

Press play below to hear the latest single from J-Haze below.

Related Articles:

Moneybagg Yo & MSC Jay Jump on “Mah Dawg” Remix (Audio)

Jahlil Beats Recalls Meeting Meek Mill on Myspace & Talking to Him on the Phone While He Was in Jail

The post NEW MUSIC: J-Haze “Hussein On Cocaine” (Feat. Conway & Omari) appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

Alright, we’re in the final stretch of 2017. We can all agree that it’s been an incredible year for all spectrums of hip-hop. Let’s skip all of the filler sentences and jump straight to it – Griselda Records (WESTSIDEGUNN, Conway and Benny) & company body slammed this year. Of course that’s subjective, but we stand firm behind that. If you’re just getting familiar with them you may have bypassed the underdog Camino, understandably. Outside of spitting a few bars on Shade45 alongside the late Prodigy and GxFR squadron, and a short amount of available records/features, it’s easy to bypass his abilities. But the hyper Griselda Records fans most likely know what’s up, and have certainly been waiting for this release since the original announced release date in late September. I’ve had the pleasure of following both of their recent tours on a few stops and had to give you, the reader, a verbal recap (or flashback) to one of the most special shows I’ve ever attended.

I’m constantly flashing back to June 8th 2017 at the Studio Webster Hall. On that night, if you were not headed to the kick-off of Griselda On Steriods tour, you may have been strolling 3rd ave and on a double take in your head thought…”Did I just see Hitler’s face painted on a shirt?” But if on that night you were seeking out the basement of a late 1800’s tried and true music venue you may have seen that shirt and it would have only heightened your excitement for what would turn out to be a blood-sweat-tears all out passionate night for music. A night that put music back in its’ place.

The stage was manned by many – the list looks like a dream on paper (Raekwon, L.O.X., Prodigy, Roc Marciano, Statik Selektah, Mayhem Lauren, Smoke DZA etc.) but the theme on stage was singular the whole night. RESPECT. Artists that did not have any other reason to be there, were there- solely out of respect. And that feeling on stage spread throughout the venue immediately. The first artist responsible for making this element felt throughout the venue, was Camino. And he embraced that responsibility with a clear and profound stage presence. It’s easy to sum up performances in catch-phrases and physical reactions. But when an artist on the cusp of breaking through into full stride gets on stage – you have to go deeper than dope. Camino took the stage that night like it was grounds for proving himself – and it was. With only a handful of recorded solo tracks he would find himself alongside legends of hip-hop, so… Where did he come from? He answered that question loud and clear with a display of lyricism, and backed it up firmly with a physical gusto in his stage presence making his performance look natural. On topic, he’s one hell of a hype man while the GxFR squad performs.

Truthfully every artist that night had a goal to accomplish on stage, Camino included. The goal was to rep New York music as a collective beyond just the city – to come together as a state. Most of the artists filing out on stage dealt with that goal in a simple manner – basically by showing face and bars. All love. But Camino was one of the newest faces to show, and his bars were not synonomous with the likes of Styles P. But Camino still managed to set the tone with a respectable amount of his bars in the mouths of the audience. That is the work of an artist who can rise to the occasion, and when it comes to artistry in rap this is what we look for. Someone who has the vision to see what obstacles lie ahead on stage, and deliver under circumstances that demand the skills, knowledge, and abilities of an MC.

We could go on for hours about how incredible the debut show of that tour was in the summer. If you were there you know how legendary it was – if not luckily the entire show is available on YouTube. Point being, Camino played a big part that night. Rest in peace Prodigy.

Anyhow, back to the premiere. You can stream it below now and tell your friends and cousins and shit. This is only the start of a long, healthy career in hip-hop for young Camino – mark our word. We had a sturdy conversation with him that you can read below as well. Learn something. As always, peace and love.

The first thing I want to get into is the last two tours you’ve rocked with the team. How important is the art of the live performance to you? And talk to us about the first touring experience as well.

I be all over the place during show time but man, live performance is a huge part of being an entertainer. You gotta think – I’m only 23 so when I’m out there on the stage I’m really competing with your Travis Scott’s your Lil Uzi’s. My music is just different. It’s a whole different vibe, you know? The vibe you’re supposed to get from Buffalo, NY niggas. But yeah I admire them niggas performance wise . They know how to capture the crowd. I think I do a good job too. Once I loose this quick 20 pounds I’ll be able to crowd surf (laughs).

Lets talk about your history with WESTSIDEGUNN, Conway and Benny. You’re a bit younger than them. How did you guys all meet initially? 

Well shit, I met WSG through my sister. He ain’t really know me all like that. Bro just a down to earth ass nigga. I wouldn’t have fucked wit me lol, but long story short them niggas found me in the bushes (laughs). I met Conway through WSG naturally. Ever since then them niggas been my brothers. They taught me a lot about life and helped me mature over the years and grow. They kept me out the streets and basically just gave me a platform. Conway and WAG them niggas – my big brothers and mentors. Same wit Benny. I always knew of Benny because, shit, if you’re from Buffalo you know Benny (laughs). I used to always see the nigga at the barber shop and would never speak to him. That’s that Buffalo shit – no matter how many times you see a nigga, if you don’t really know him you ain’t gon speak. But come to find out he was cool as hell too. That’s my big brother. That nigga nasty.

It’s no secret that Griselda gives a lot of praise to the ART. When I say art I’m speaking on everything – lyricism, sound, fashion, painting, drawing, poetry and so on. Why is art important to Camino?

All art plays a huge part in the culture. It all brings us together in a way like say, for instance, fashion. I rap nothing like Lil Uzi, Young Dolph (laughs) but we all rock Gucci! I fuck with Goyard. I fuck with Balenciaga. We all go to the Blue Flame and throw money at the club – they just throw more for personal reasons (laughs). I live in Atlanta too and I don’t rap like 21 Savage but I fuck with 21 Savage’s music. And I was raised in Baton Rouge but I don’t sound like Lil Boosie. I’m all about the art of it if it makes every thing make sense. Art gives the music meaning. The poetry, the drawings, the paintings -it’s all very necessary. I feel like people don’t value art as much as they should! Not just our music but art in general. It’s just like music – another way of expressing yourself.

What are your personal thoughts on all of the new grimey/stripped down hip-hop music that is surfacing since Griselda? I know Wes addressed this recently on his latest record. In a way it’s beautiful, and a homage to you guys and your authenticity.

(laughs) I love it. I hear it. It’s out there, but it ain’t it. Only because they are not us. Nah, I respect it I just need niggas to pay homage because there are bums out there that niggas like WSG fathered but don’t give him credit. Even the fashion influence. I feel like alot of designers bit his styles. For instance the half and half REJECT and FLYGOD hoodies (laughs) – nobody was even thinking bout half and half and then next thing you know Bape is dropping half and half hoodies. And Fabolous was wearing half and half afterwards. I don’t know, mabye I’m just tripping but I see it alot (laughs).

Lets talk about the new record. It’s safe to call this your official debut release. Tell us about the choice of production, the writing process, and why you chose this cover art, etc.

Well my man Boodeini made all the beats. He produces most of my music. He is like my Daringer – my in-house and go to producer of choice. He got some shit with him too! He produced majority of the project. My writing process is pretty simple – I just look for beats that fit the vibe that I want the project to give and I write them all in the studio. I only write at the studio right before I record. Also the cover art is a picture of my house that grew up in. I took that picture a while ago on my phone. This house is in the middle of my blocks – D Block and C Block.

____

Related Articles:

RESPECT. Interview: Westside Gunn Discusses Changing Lives, Art Exhibits & Production

Premiere: Westside Gunn Drops off New ‘THERE’S GOD AND THERE’S FLYGOD, PRAISE BOTH’ EP

Premiere: Conway & Prodigy ‘Hell Still On Earth’ EP (stream) + WESTSIDEGUNN “Peter Luger” (Video)

The post Griselda Records’ Camino Drops Off Debut Release & Talks Touring, Art And Meeting WESTSIDEGUNN appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

A creative with tenacious vision echoing Kanye West and Basquiat’s effortless energy, and work ethic, WESTSIDEGUNN is a scholar whose trustworthiness has grown quite a bit this year. We’re all invited to witness his growth publicly on record alongside his tireless Griselda Records army. With production in its entirety by in-house producer Daringer, Hitler Wears Hermes 4 serves as WSG’s fourth installment to the ongoing series. A little over a year ago we heard part three, inviting the late Sean Price on “BLVCK TAR”. He and Griselda often pay homage to the rap giant; one of a laundry list of reasons authentic hip-hop listeners could note continued, solidified trust. When a recently developed artist praises Sean Price and J-Dilla, you listen. Getting familiar with WSG and Griselda early on, these type of things mattered – in a time where it’s almost expected for newer artists to ignore, even disrespect, their timeline’s frontrunners. And ultimately the culture. Now, Halloween day, we’re offered part four.

We had some fun and ran down a list of highlights that we’ve gathered from Hitler Wears Hermes 4. The title lists four reasons that your collection needs this, but there are far more.

Conway’s unrepentant transparency.

It’s common to hear Conway, the blood brother of WSG, compared to Beanie Sigel and Styles P. in 2016. It comes as no surprise. He’s cut from the same cloth, and we wholeheartedly agree that he belongs in the “hardest rapper” ranking at this point. There was a time when Hell Rell was mentioned on the unofficial list, but if anyone replaces him it’s Conway now next to Beans and SP. Perhaps that list is arguable. Isn’t everything?

“The Cow” is a welcomed surprise and the frame work for the 11-track Halloween day release. Conway has always been truthful and convincingly honest about hardships, street tales and hands on experiences. But this opening verse peels another layer of the onion off of the brawny wordsmith who, lets be honest, is one of the coldest personalities on record this year. It’s embraced and ultimately what makes him Conway the Machine. Hints of spirituality when referencing a close friend Machine Gun’s murderer, “..maybe that was a sign, maybe God ain’t want me killin’ them niggas and doin’ time, maybe God wanted me here to kill ’em with the rhyme, maybe that was part of his plan and part of the design. I don’t know, I’m not religious..” followed by a quick dose of gratitude while reliving the tragic shooting where he took a bullet in the head and almost lost his life. He wanted to quit pursuing hip-hop during and after recovery, now having to live with a slightly slurred delivery and a face “twisted up lookin’ ugly as shit.” Needless to say, we are glad he didn’t throw the towel in, as we’re sure hip-hop fans are in addition.

Thankful for his close relationship with WSG and Daringer, working with Kool G Rap, and still being alive to create today, it’s evident that he penned this verse with natural emotion. Grateful tears perhaps were shed. It may be one of the most convincing verses from him all year, and certainly builds even more anticipation for his forthcoming full-length G.O.A.T. (Grimiest Of All Time).

Art. And More Art.

An open invitation to controversy, the title Hitler Wears Hermes is unapologetically blunt. It’s a beautifully confusing and compelling label for a series. The title itself is drawn off of the Devil Wears Prada, but WSG needed something to stamp the newly wrapped package with his own flavor, a few years ago from his docu-series stating, “..some of the grimiest but flyest shit I could come up with. As soon as you hear it you think it’s crazy but fly at the same time,” explaining that’s what defines him – fly, grimy and luxurious. I don’t think an elaborate explanation is necessary for the title, much like most esteemed and admired artwork.

We’re here on the fourth installment. The cover art could be the most visually experimental piece we’ve seen from Griselda Records – an unbalanced, disproportioned digital collage of Hitler, well, wearing static Hermes attire. And a transparent mid-section (we think we see a spine there), which adds to the satisfying distortion. They’re quickly becoming known for their conceptual approaches on the visual art spectrum, adding another layer to the army’s flair. WSG is not shy about admitting his love for art, whether it be painting, drawing, fashion, emceeing or poetry. FLYGOD, his newly released debut record, exhibits a young stylized WSG wearing a careless, sincere smile and three gold chains. With his head wrapped in a tight crown of thorns and blood dripping from both his forehead and eyeballs, it raises questions. Art imitates art. Life imitates art. The questionability, the doubt, the curiosity and measurable conclusions.

Daringer’s canvas.

There’s a moment when listening to this piece where four songs, back to back, are built primarily off of gorgeous looped guitar riffs – “Aunt Rosie’s”, “Mr. Fuji”, “Ringside Rocking Furs” and “Nitro” to be exact. It’s not the first time we’re hearing Griselda’s in-house producer Daringer get loose and ornamental with guitar strings, but it’s the first time we’re hearing over fifteen minutes of display where guitar is the focal point. It’s uniformed. “Ringside Rocking Furs” is the lightest of the four, the guitar playing more of a backdrop as a result of the heavier drums – seeing fit considering its invitation to a new Keisha Plum spoken word piece and an introduction by singer Tiona D.

Daringer’s most enticing qualities lies is in his vocal samples. It may take a listener 10 minutes into any Griselda Records piece that he’s worked on to notice the highlighted skill set, though HWH4 finds only two songs where a looped vocal sample is the centerpiece – “The Almighty” and “Walked on Water Interlude”. A lot of their best work together is rather minimal. That’s chemistry in its purest, natural form. When it’s meant to be, you hear it. Again, sometimes art is like that. You can’t exactly put your finger on it. It’s a feeling. An indescribable one, bearing resemblant chemistry of Madlib and MF DOOM or Black Moon and Da Beatminerz. Daringer has even been called a young Alchemist, respectively.

All of his soundscapes leave us instantly in need of more. It’s not soul music, but it feeds the soul. There’s soul in the process and there’s undeniable passion. Real do indeed recognize real, and at the end of the day upstart producers should take note of the Buffalo, New York native’s work ethic. We like to think there’s folders of unreleased production that could, like WSG has been doing with rare, collectable vinyl records and clothing, be sold at a high number on the internet. HWH4 is another sure sign that Daringer is one of the most distinctive beatsmiths in hip-hop music right now.

Bringing out one of Stalley’s best guest verses in a while.

Griselda Records have yet to overwhelm a body of work with overbearing features. They generally keep the guest appearances within an arm’s reach – a healthy amount that seems to be the ideal recipe for an unabridged, contemporary hip-hop record. We’ve yet to think there were too many invited artists across their discography. HWH4 holds the door open for Conway, Tiona D, Benny, Smoke DZA and most notably Stalley, Maybach Music Group’s promising and often overlooked wordsmith. As for authentic Ohio representatives, it’s safe to put him up there with the Hi-Teks, the J. Rawls and the Kid Cudis. His latest (2014) full-length Ohio welcomed listeners globally into his classic apple red Chevy Impala with the boomin’ system. A wide, homely body of work that acquired additional trust for true-school rap fans.

Stalley’s Ohio, The Laughing Introvert and Saving Yusef releases all have their acclaimed highlights, whether it be debut sales, ideational subject matter or pure emceeing. As far as guest verses “5x a Day” may have brought one of the best moments out of him. We recently heard him on Skyzoo and Apollo Brown’s latest The Easy Truth. “Payout” is too an incredible contributing verse, but WSG and Daringer brought an edge out of him that we haven’t heard in a while. Maybe it’s the nature of the song’s reality, the nature of knowing when you’re invited into Griselda’s territory you let the pitbulls out. And the nature of a barbaric, reflective Daringer soundscape. Though notably topical, it’s more so a feeling you get that we’re referencing here.

iTunes | Spotify | AudioMack | XXL Magazine Feature

WESTSIDEGUNN: Twitter | Instagram | AudioMack | iTunes

Conway: Twitter | Instagram

Daringer: Twitter | Instagram

Griselda Records: Official Site | Instagram | YouTube | SoundCloud

The post 4 Reasons You Need ‘Hitler Wears Hermes 4’ appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

[Contemporary] hip-hop royalty. That’s what Skyzoo & Apollo Brown are if you’re just getting familiar. Perhaps the lead audience is already in tune with the two, so an extensive introduction will not be. Everyone has those artists that’ve gained their trust. You know, that blind trust thing where, at some point along the line, you’re one hundred percent invested in their careers and will purchase anything they release. You trust their craft. You value their material and their truth. That’s The Easy Truth, Sky and Apollo’s forthcoming collaborative full length record due out in four days (09/30) via Mello Music Group. Majority of true-school listeners will agree that the two of them have earned their trust. I mean, that’s our truth at least. Survey says we are not alone in this. While we’re on the subject, do Mello releases ever let you down? It’s a no-brainer.

Just to be clear, this is not another underwhelming album review to put you to sleep. It’s a quick look at the key components that make up the new album, in hopes that you get as excited as we are at RESPECT. for it.

2015’s Music For My Friends, which featured one of my favorite cuts of the year “Money Makes Us Happy,” is a notable bookmark. How about 2014’s Barrel Brothers with Torae? Wait, what about 2012’s A Dream Deferred? Are you noticing a pattern yet? Well not a pattern, more so a consistent flow of quality music, ranging in production and welcomed collaborators. Sky embodies what a true school, east coast emcee should sound like – specifically Brooklyn. Well I’m not here to say what you should and shouldn’t sound like, but if you value pertinent content, comprehensive lyrics and humility, taking notes could be helpful.

____

____

The Easy Truth isn’t the first time we’re hearing collaborative music from the two. But it is the first full length body of work offered. Organic at that. I don’t want to get too into the recording process because Skyzoo cleared all of that up below in our interview. The collaboration just makes sense in 2016 – the year of amplified “mumble rappers,” percocet glorification and artists with a lack of respect for our culture’s timeline. If that’s what you prefer, that’s fine of course. This album here, however, is none of those. As far as honesty, this could be the richest Sky’s content has ever felt, or sounded. Invited guests include Conway, WESTSIDEGUNN, Patty Crash, Stalley and Joell Ortiz. A tasteful selection to say the least, leaving room for him and Apollo Brown to breathe and toss welcomed haymakers. The introduction, a few powerful words from Les Brown over Apollo’s signature and pleasantly dusty backdrop, sets the tone for the record – simply translated as, embrace life’s lessons and learn from them.

As for the production itself, The Easy Truth is another uncut dose for the Apollo Brown beat junkies. You have your reoccurring thick drums and bass. You have your soulful sampling (see “Jordans & A Gold Chain” and “The Flyest Essence”). He stays true to his sound, as expected. Last year in an interview it was mentioned that he is okay with being the artist that he is – not here to reinvent sound and recreate the wheel. He’s an artist rooted in boom-bap appreciation. So, he will most likely continue to create around what inspired him the most and what people love deeply about his production. Skyzoo sounds unstoppable over his canvas. Once again, it just makes sense. The three released singles leading up to 09/30 should give you a solid idea of what the whole record offers (if you missed them, we’ve attached a couple throughout this article for you).

It’s now press week for Sky and Apollo. They have a few busy days ahead, talking about and promoting The Easy Truth. I had the pleasure of stealing a few minutes of Skyzoo’s time to have a healthy conversation about the work ahead and other important topics for your reading pleasure. If you’re interested in the record all of your links will be below. Thank you, peace and love:

____

RESPECT.: We want to thank you for your time. For the new fan that’s just discovering Skyzoo, what would you want them to know about you?

Syzoo: Well first off I appreciate you guys taking the time out to build with me. It’s definitely much appreciated seeing as you guys are such an accredited and esteemed publication. As far as for the new fans, I’m a writer above all else. I pride myself on what I write and being a lyricist. Being able to use words to tell stories with layers and meanings and connect on a variety of levels, that’s all part of the concoction for me. I’m from that cloth of caring for the writing, circa ’95 in a sense, without being or sounding dated. Lyricism and being relatable. Everything else supports that and helps keep it afloat.

R: The new record is an incredible body of work. You quite honestly make emceeing seem effortless. Does working with a quality producer like Apollo Brown help make that more possible? 

S: Thank you man, I appreciate that. I’m glad you dig it. Working with Apollo was dope because with him you’re dealing with someone who’s likeminded as far as how they see music and see their legacy playing out. Someone who cares about the same things when it comes to the art; longevity, integrity, authenticity, and the culture. Anytime I’ve worked with one sole producer it’s always been someone who’s craft I thoroughly respect and support, so connecting musically is easy when those things all line up. I pride myself on making it sound effortless regardless of the amount of work I put into my craft. Melo or Steph Curry may shoot 1,000 jumpers a day and put their entire beings on the line, but when the game is on, they make it seem like a breeze. That’s the key to potentially being great, so that’s what I strive for.

R: Less dreaming and more living, that’s the easy truth put simply. “Innocent Ambition” is notable, as ambitious content isn’t necessarily cool right now on a mainstream level. How important is uplifting content to you? You’re always full of good vibes and carry a positive aura, even when you’re painting something a bit more rugged.

S: The music is always supposed to do one of two things; you either escape through it or relate to it. My music is the type you relate to. We all have dreams and goals visions, and based on where you’re from and what you do, those can either become a reality or a “should’ve could’ve would’ve” story. I tell stories of heinous situations and highs and lows and sometimes lowers, and how those things can culminate into something you may have never imagined, be it better or worse.

R: Brooklyn specifically has been experiencing tremendous waves of gentrification. As a BK native and an artist we thought it’d be refreshing to have you weigh in on this reality there and how it may or may not affect you.

S: Well gentrification is something I touched on throughout the new project because it’s so prevalent in my neighborhood. I grew up in Brooklyn in an area where people didn’t really wanna come and visit or hang out or move to, yet we had this family vibe there, this unity and a culture of being in sync that made it all make sense. Now we have cafes and bars and yoga studios popping up around the corner from where my friends serve at, and more perspective tenants than ever, yet that unity and culture is fading fast. It’s as if those like myself who had to live in it when it was down are afforded the opportunity to enjoy it now that it’s up. The Barclay center, as great as it is and as much as myself and plenty of others enjoy it, was the start of the ending as far as old vs new Brooklyn and where we are as residents and what makes us matter. Now it’s as if we don’t matter. But my pops predicted years ago that the Barclays center would be the start of the ending. There’s tons to love about gentrification but there’s twice as much to worry about with it. There’s nothing wrong with the neighborhood becoming better and new neighbors moving in who look nothing like us day-one’rs, but when you tell us we can’t enjoy what the new folks are because we aren’t the new folks, when this was ours first, that’s when we have a problem. I recently saw some tweet: “don’t move to Brooklyn for the culture and then call 911 on the culture”. I thought that was incredible. Tweet of the year in my book.

R: Can we talk about the featured artists for a moment? It’s a pretty limited, tasteful selection. We are very excited to see WESTSIDEGUNN and Conway a part of as well. “Basquiat on the Draw” is ridiculous.

S: Feature wise I try to never over do it, I like to just add people who make sense. Everyone Apollo and I added make sense sonically, lyrically, and conceptually to their respective tracks. As far as Westside and Con, those guys are family to me, so anytime I have a lane to show some love I’m definitely gonna do so. And then with Joell and Stalley and Patty Crash, it just all came together how we saw it beforehand. The Patty feature meant a lot to me because I’m such a fan of her work with the roots, and I knew having that type of presence would be different for Apollo’s fanbase, which is dope.

R: I couldn’t wait to talk to you about the Stretch & Bob cut. Well done, and more importantly a beautiful amount of respect payed to a pinnacle part of our culture’s timeline. 

S: Thank you, I appreciate that. The idea came to me after seeing their doc, which was stellar. I was both excited and envious. Excited at what hip hop and done and what it’s capable of based on what Stretch and Bob proved, and then envious at not being born earlier so that I could’ve been on their show lol. Then I realized we live in an age where everything is on YouTube, so I figured why not cut up some old clips and make it sound as if I were on their show, and then get busy for 80+ bars? I had alotta fun with that one.

R: There’s obvious chemistry between you and Apollo, wether it was recorded together or not. But for the sake of conversation, was the record created together? 

S: We did the LP together in Detroit. Apollo was very adamant on us recording it together, so I took a trip to Detroit for about a week and rocked out. He sent me about 40 beats to pick from, I turned those into about 15, and then he asked if 2/3 days would be good for us to record all the music, since he assumed I’d been writing to the beats over the prior months. I said “nah, book a week, I gotta write em once I land”. He got nervous because everyone he’s ever worked with writes way ahead of time and then binge records in a day or two. I write everything on the spot, no matter what the project is, a quick verse or a full LP, I pen on the spot. So Apollo was a little nervous of me thinking I only needed a week and assumed I’d need three, but once I got the Detroit I did all 14 songs in six days. He couldn’t believe I’d pulled it off. He was like “I’ve never worked with anyone who writes as fast and is still efficient as you”. I’ve been writing everything on the spot since about 2009/2010.

Skyzoo

Instagram | Twitter | Official Page

Apollo Brown

Instagram | Twitter

Mello Music Group

Instagram | Twitter | SoundCloud | BandCamp | Official Page

‘The Easy Truth’ 

BandCamp | iTunes | Amazon | Vinyl | Cd | UGHH | Fat Beats

The post Skyzoo On Gentrification, Writing Process & New LP With Apollo Brown appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

Is this not the flyest double-premiere you’ve opened in a while? Come on. I suppose a formal introduction isn’t necessary, but perhaps you’re just discovering Conway and WESTSIDEGUNN. Responsible for breathing a new, refreshing cloud of appreciation back into east coast hip-hop, the two blood brothers have been on one hell of a musical tangent – alongside in-house producer Daringer and Griselda Records. Your grandmother may not like it, your white picket fence, suburban mother may not like it, but we can assure that hip-hop heads in and out of the streets love it. It’s a special sound that hasn’t been explored to this degree. Daringer’s careful loops, often drumless. Conway’s unapologetic grime and addicting slur. WESTSIDEGUNN’s piercing solidity. It’s a feeling we’ve been missing since, say, the Styles P. mixtape days. It’s here now, in 2016, and appears to be staying for a while as long as they’re on record.

Let’s get into Conway and Prodigy‘s new Hell Still On Earth EP. The release is just under ten minutes, a severely potent ten minutes at that. The world heard a collaborative effort from the two a few months back on the GxFR Don’t Get Scared Now EP, certainly leaving those who’ve heard it wanting more. Well, it landed safely. This isn’t a review, we’re just delivering it to you properly. You can stream and review it yourself below. We also had the pleasure of asking Conway a few questions that we think you’ll enjoy.

https://soundcloud.com/user-5212897/sets/conway-x-prodigy-hell-still-on/s-zkLAu

Onto the new video. “Peter Luger” is a stand-out off of WESTSIDEGUNN’s latest ‘There’s God and There’s FLYGOD, Praise Both‘ release. We’re stoked to now have a video for it. It’s a simple visual demonstration – the FLYGOD pulls up in the latest 2017 Benz Coupe on what seems to be a frequented corner in Buffalo, New York. Of course he’s dipped in his own latest fashion, one piece being his brother’s stylized face pressed over the black, limited edition hoodie (see Instagram for clothing updates). A simple corner store run for two blunts. Why is this special? Well, first it’s filmed incredibly sharp. A minimalistic approach is working beautifully here. It’s reminiscent of Kanye West’s current Life of Pablo tour in a sense, not directly of course. Maybe subconsciously – they’re all geniuses. After all it’s no secret that WSG is a big fan of Ye’s vision and artistic drive. And lastly, it’s relatable – simple as that. Enough yap out of us, enjoy the first look at “Peter Luger” and tell your friends, they’ll probably like it too:

a quick conversation with Conway:

The new EP is here. This might be the grimiest 10 minutes we’ve heard in a while. How did the project come about? 

After we did “Benz Window”, me and P thought we needed to keep cookin’ up more shit. The streets need that so here it is. We got more together on the way too.

Yeah, the collaboration just makes sense. Is this a teaser at what’s to come with ‘G.O.A.T.’? I know a lot of people are excited for that as well. 

Exactly. Gotta get people ready for what’s about to happen. It’s spooky right now for these rap niggas.

You’re arguably one of the hardest emcees in hip-hop right now. I get the same feeling with you and WSG that I did with LOX and Beanie Sigel type of material. 

We’re just doin’ our job. We understand we have an opportunity to do something special for hip-hop. We just stay humble and stay consistent with hard beats and hard lyrics. The rest will pan itself out.

If you could work with one artist dead or alive who would it be?

This may surprise you but it’s Kanye West. I think he’s a creative genius and I’m always inspired by him.

WESTSIDEGUNN

Twitter | Instagram | SoundCloud

Conway

Twitter | Instagram | SoundCloud

Daringer

Twitter | Instagram | SoundCloud

Griselda Records

Twitter | Instagram | SoundCloud

The post Premiere: Conway & Prodigy ‘Hell Still On Earth’ EP (stream) + WESTSIDEGUNN “Peter Luger” (Video) appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

Cover Art: Andre Deck

This may be your introduction to Dj Skizz. Maybe you’ve been familiar with his music over the past few years. Maybe you’ve been an avid listener to The Halftime Show and have been familiar with his name for over a decade. Either way, hip-hop gladly welcomes artists like Skizz. Good producers with a generous range of sound, whether released or willing to, are hard to come by. Or, if they do have range they usually just suck and no one wants to hear their range (see your nearest radio for examples). Skizz is refreshing. Like an overdue exhale – the exhale you let out when you know it’s going to be okay and there’s still hope.

Skizz’s 2013 B.Q.E. (Brooklyn-Queens Experience) full length is a good time hop, let’s go there for a second. A seasoned boom-bap palette, a buttery confirmation that he is indeed a focused swordsman on the hardware. If a list of emcees like Masta Ace, Nature, Shabaam Sahdeeq, Roc Marciano, Torae and say, O.C. doesn’t appeal to you, perhaps you have some homework to do. While you’re at it we’d suggest you checking out Kings from Queens (2012). Or you’re in the wrong place.

Fast forward to today. There’s a ridiculous amount of quality independent releases already this year. Cruise Control, Skizz’s second official producer LP, is a day shy of being one to add to your list of top shelf  “underground” releases. You may have heard the few singles released via the internets. If those are any indication to what the new full length will offer, done deal. Guest artists include Conway, Planet Asia, Your Old Droog, Evidence and more. We’ll leave the rest a pleasant mystery and not bore you with an in-depth review. Below we had the pleasure of talking briefly with Dj Skizz to discuss the release and a few other goodies. Check the interview out, learn something cool, and be sure to cop/stream the entire record tomorrow (7/29). Peace and love:

RESPECT.: Before we set it off, thank you for your time. If you could give a new fan some backround about yourself what would you tell them?

RESPECT.: You have some pretty rich history and involvement in hip-hop aside from producing records. Can you tell everyone a bit about the Halftime Show days and its importance leading up to where you’re at currently?

RESPECT.: Lets talk about your ‘Cruise Control’ album. The packaging is top notch! And from what you’ve released already off of the LP the featured artists are just as potent. What should heads be expecting with this body of work?

RESPECT.: What’s your most memorable moment throughout the creation of ‘Cruise Control’? Any cool stories or pinnacle moments?

RESPECT.: Though your catalogue is already stacked with a boatload of elite recording artists – if you could work with one artist dead or alive today who would it be, and why?

RESPECT.: To close this out, if you had to give some advice to a new jack looking to produce what would you recommend him/her?

Dj Skizz: Twitter | Instagram | SoundCloud | iTunes

Cruise Control: BandCamp | FatBeats (cd)

The post Dj Skizz Sets The Ride In ‘Cruise Control’ (Interview) appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.