cherry valley forever
Xuebing Du

shark vs the universe
taylor price
Alisa U Zemlji Chuda

roma★
No title available
trying on a metaphor
One Nice Bug Per Day
Sade Olutola
todays bird

oozey mess
Claire Keane
occasionally subtle
Cosimo Galluzzi
wallacepolsom
will byers stan first human second
DEAR READER
KIROKAZE

Origami Around

seen from Italy

seen from Peru
seen from United States
seen from Slovakia
seen from United States

seen from United Kingdom
seen from Spain
seen from Malaysia

seen from Slovakia
seen from United States

seen from Germany
seen from Russia

seen from Paraguay

seen from Paraguay

seen from China

seen from United States
seen from United States
seen from United States
seen from United States
seen from United States
@rileysavage
Secret Space - “Standing and Waiting”
song: http://t.co/Uk7DrfX7dv
Toledo’s Secret Space have released a fantastic new single as part of their split with The Flats (Chris Kerekes, Mat Kerekes of Citizen)
For fans of: Citizen, Balance and Composure, Superheaven, damn good rock music.
Also, check out the gnarly video for Secret Space’s debut single, “Stay For Awhile” https://www.youtube.com/watch?v=4MwEjsfwFS4
5/5 stars for NOIR (thenoirmagazine.com)
On October 22, 2012, social media platforms were crowded with pictures of Kendrick Lamar’s freshly released Good Kid, m.a.a.d. city album artwork paired with what seemed like a unanimous “best album of the year” proclamation; six months later, the words “best modern hip-hop album” were tossed into the mix. Kendrick’s rise to staggering fame was consistent and gradual, while maintaining the sense of magic and mystery that grant him the label of “overnight superstar.” Most everyone was equally excited and worried for Lamar’s next project. Would he meet the insurmountable hype? Could he top GKMC? What does Kendrick have to say now? On March 15, 2015, our questions were answered. To Pimp a Butterfly was released to the world, a week ahead of schedule on a quiet Sunday night. Garnering mixed reviews from the get-go, TPAB is a divisive, powerful masterpiece which forces its listeners to have an opinion. Kendrick depicts himself as a central representation of a black person in modern America, personifying the internal and external forces that act upon him. By lending voices to racism, sexism, cowardice, self-hatred and self-love, Kendrick paints a full picture of the black experience.
For a commercially successful musician, K Dot is a very complex individual; he’s a natural born story-teller, a more capable rapper than most of his contemporaries, a style icon, and he’s filled to the brim with reasoned passion. To Pimp a Butterfly is the result of meticulously balancing these skills; its hard to pin down sometimes, but after dissecting its heady material and stepping back, Kendrick’s artistic direction is clear. The LP is a brilliant poem, each stanza illustrated in expansive, cinematic detail. Structurally, TPAB is similar to GKMC in some ways; both projects are dense and cohesive, designed to be consumed whole. No single track on either record tells the whole story. GKMC depicted a progression within Kendrick through linear storytelling, whereas Butterfly is one story told from several different perspectives. Lamar’s narrative focus is complimented by the bombastic musical side of TPAB; the project’s production does not adhere to the standards of 2015 hip-hop. The 70’s funk-inspired energy of the LP is kind of a controlled chaos that ends up somewhere between The Love Below and Voodoo, but is always distinctly To Pimp a Butterfly.
Between the boisterous funk concoction of “King Kunta,” the shimmery soul-psychedelia of “These Walls,” the 90’s boom-bap vehemence of “Blacker the Berry” and the decision to juxtapose it with the Rapsody-featuring “Complexion,” Lamar gives listeners a lot to talk about; none, however, is more striking and important than the conclusion of “Mortal Man,” the conclusion of modern hip-hop classic To Pimp a Butterfly. As K Dot finally finishes his poem and the music dies out, it becomes clear that he is speaking with someone - rather, he has been speaking with someone the entire time. Lamar pulls vocal samples from a 1994 Tupac interview to craft this closing dialogue. Kendrick and Tupac profoundly ‘converse’ about many topics that plague and bless TPAB’s dense 79 minutes. Kendrick then explains the meaning of his album title - the idea that, due to oppression, black people in America confuse inner beauty for weakness, “pimping his/her butterfly” in order to disguise it as something ‘powerful.’ “What’s your perspective on that?” Kendrick asks, before frantically shouting “Pac?...Pac?!” He does not respond, and the album has ended. This exchange is a symbolic passing of the torch. Kendrick can look to the past and to Tupac for answers to his many questions, but Pac never discussed “pimping your butterfly” and he isn’t here to react to K Dot’s album. To Pimp a Butterfly takes us past where Tupac could take us - past where hip-hop has taken us so far. He couldn’t possibly top this one... could he?
4/5 stars for NOIR magazine (thenoirmagazine.com)
The 1999 mixtape was marked by a sharp sense of wisdom and brash confidence, earning rap-group Pro Era ringleader Joey Bada$$ the reputation of a prodigy-like figure in underground - and mainstream, to an extent - hip-hop. His come-up was that of a fairy-tale likeness, but the process was greatly prolonged. After a few years and an underwhelming follow-up mixtape/EP, the young rapper finally found his way back and was met with sizeable hype for his debut LP, the cleverly titled B4.DA.$$. (some thanks due to Maliah Obama’s support). The press period for his LP was questionable at best, as Joey let loose SIX singles prior to the album’s release - the most successful of the six being a bonus track. With some fans in doubt, Badmon delivered. As he’ll tell you himself, Joey is from Brooklyn, but his parents are from the Carribean; he draws from his island roots but his music indisputably lives in an urban environment. It’s apparent that he’s spent some time with 90’s hip-hop, but Joey’s formula is much less a regurgitation than a reinvisioning of the decade’s sounds.
The true appeal of Joey Bada$$ is in his understanding of hip-hop from music to culture and so on; his character is well-rounded and aware. He gives rebellion a unique sense of credibility - he makes smart sound cool and vice versa. A good example of this is the pseudo-title-track “Paper Trail$;” the New York powerhouse showcases dynamic flow and endearing cadence as he melodically projects “Before the money it was love, but before the money it was tough.” The Pro Era leader can play the bad guy just as well as he can the good. For instance, “Big Dusty” is midnight Gotham and finds Joey somewhere between Batman and the Joker; this temperament is equally captivating. Demonstrating an undeniable versatility, the emcee harnesses the fiery energy of social change on “Like Me,” “Belly of the Beast,” and “No. 99;” these poised, powerful efforts detail urban life post-Ferguson, ditching survivor’s guilt for solidarity. Through strong hypotheticals, Joey renders himself more accessible to his audience, making his narratives even more tangible. An incredibly strong release nonetheless, B4.DA.$$.’s biggest fault comes in its repetition - not in the sound of the tracks, but in content. Joey’s obsession with other rappers stealing his bars results in some verses feeling akin to a cypher. For mixtapes, this quality is excused, if not welcome; however, on an LP packed with lyrical gems, those lines pale in comparison. Although the record lacks narrative in the conventional sense, it is reinforced by level-headed, subtly posh bits of interview and skit that afford the project a comfortable flow. The Capital Steez semi-tribute “On & On” does not close out Joey Bada$$’s fantastic debut LP, but it does contain some choice parting words from the budding emcee: “Don’t mourn me when I’m gone, celebrate my travels.” Joey is aware of the inevitability of death, and he’s not wasting any time.
Drake - If You’re Reading This, It’s Too Late
4/5 stars for NOIR (thenoirmagazine.com)
For many, it’s hard to pinpoint exactly what makes Drake’s music so enjoyable; I’d argue that it lies not in his strengths, but his lack of weaknesses. Despite his (spot-on) label of ‘tabloid rapper,’ Drake somehow manages to rise above most controversy; he delicately balances the tags of street credible trap-rapper, sensitive guy meme, and tv-personality with ease. If nothing else, ‘Drake’ is a marvelous work of character study; Aubrey Graham has crafted - and perfected - a multi-talented, impossibly suave, record-breaking superstar without much speculation. For our general population - the kind of people who “don’t think about it too much” (sorry, had to) - Drake is appealing because he doesn’t reveal his flaws, and caters to everyone without seeming like he’s trying to. Take his album cover, for example: what appears to be a haphazard, chicken-scratch mix-tape cover turned into the most meme-able image in 2015; even Drake’s anti-internet manifesto dominates the cyber-world. In other words, the man has a strategy; part of that strategy is to appear like he doesn’t have one.
Sonically, If You’re Reading This It’s Too Late is Drake’s strongest release so far. The tape’s production is incredible - not just song-to-song, but as a cohesive project front-to-back. The thing is packed with bangers, but showcases Drake’s artistic prowess through moments of experimentation and flashes of R&B submerged in fish-bowl production. “Legend” is Drake’s patient, melodic first statement - more impeccable in its poise than its content. He invigorates the old radio-single formula for the towering “Energy” and staccato trap of “10 Bands;” both use the large-audience platform to enforce the project’s loose anti-internet theme. The oft-instagram-captioned “Know Yourself” is responsible for the most sub-woofer purchases since “A Milli.” Just in the first fifteen minutes of the tape, Drake has accomplished an incomparable 1-2-3-4 punch. Respectably, he strays from this blueprint to craft a versatile effort; “Wednesday Night Interlude” shines with experimental brilliance, aided by the rising PARTYNEXTDOOR. Drake is in good “Company,” too, because young Travi$ Scott drops by to lend his electrifying persona to the tape. “Jungle” - likely the best track on the project - shares some sonic tendencies with Frank Ocean’s already-classic Channel Orange; it’s muddled, vaporous texture is the perfect scrim for Drake’s dramatic recollection of a past relationship. As the strangely agreeable figurehead of the 2015 rap landscape, the musician has crafted a wondrous amalgamation of commentary and ignorance. Because his convincing command of character and tone speaks for him, Drake allows his message to remain ambiguous; however, one thing is clear: he knows what he’s doing.
All Things Go
Sooooo I landed a writing gig with All Things Go; they’re a DC-based site that I’ve been reading for years, and I’m thrilled to be a part of it. Check out my contributions so far and follow the blog!
http://www.allthingsgomusic.com/#/author/riley/
x Riley
Shout out to @coreydavis937 for this bad-ass pic of us last night.
J. Cole – 2014 Forest Hills Drive | Roc Nation 2014
[4/5 stars for NOIR (thenoirmagazine.com)]
North Carolina’s J. Cole has hovered on the fringe of major hip-hop success for a good half-decade now; however, he made a name for himself with 2013’s solid Born Sinner. Just over a year later, Cole returns with a (somewhat) surprise new LP, titled 2014 Forest Hills Drive. The biggest surprise here, though, is that this rushed album establishes J. Cole as a distinctive and important force in hip-hop. While Born Sinner established his ability to contruct songs that felt big, Forest Hills dials back the theatrics and focuses intently on his message. On the LP’s opening track, Cole treats us with a line that really hits the mark in 2014: “black is hot but the streets is cold.” Among several other topics, this becomes somewhat of a thesis for the emcee’s most dense release yet. The very next song, “January 28th,” features strong production and Cole’s most noteworthy lyrical content thus far in his career. “I turn the tv on, not one hero in sight, unless he dribble or he fiddle with mics;” in a post-Ferguson world, Cole artfully discusses the issues that have transitioned out of focus in the worldwide attempt to address and amend racial tension.
Unfortunately, 2014 Forest Hills Drive lacks the flow and cohesion that makes good hip-hop albums great. For example, “January 28th” leads right into “Wet Dreamz,” the most confusing offering on the LP. Cole’s candor is respectable, but reaches a cringe-worthy and unnecessary level of detail. His tell-all nature fairs better on tracks like “’03 adolescence,” where he breaks down his walls to ask “if they ain’t want us why the f*** they never wore rubbers?” Forest Hills’ most controvercial track is the radio-ready “Fire Squad;” here, Cole touches on white appropriation in an impressive verse that name-drops Elvis, Iggy Azalea, Macklemore, Eminem, and Justin Timberlake. The points he makes are extremely valid, but are discredited by a timid “I’m just playin’!” Regardless, the song stands as one of the strongest on the LP, but it has some fierce competition. “G.O.M.D.” and “Apparently” both display J. Cole’s growth as an engaging storyteller and a significant development in style. Cole’s victory-lap-meets-album-credits track “Note to Self” could’ve easily been omitted, but if you’re like me, you’ll just skip most of it anyway. The LP’s only shortcomings lie in lackluster production, and in inconsistent flow - 2014 Forest Hills Drive feels definitively like a really good mixtape rather than a full-length album. Despite these small misteps, Cole demands to be taken seriously; this time around, his artistic output lives up to his demands.
P.S. Happy Birthday J!
Desaparecidos sign to Epitaph Records
Desaparecidos have signed to Epitaph Records in anticipation of a new album that will be released in 2015. Upcoming tour dates for the tour can be found below.
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Vogue is premiering another new song titled “Your Pain is Mine Now” from our new album, “Hyperview”. Check it out at the link below, and preorder the record (out February 3rd) here: http://tinyurl.com/hyperviewpreorder
http://www.vogue.com/8286273/title-fight-hyperview-song/
Citizen in the studio recording their sophomore LP with @willyipmusic. Who’s psyched?
Changed our name a year ago. Feels good.
all hail "w(r)"
Theophilus London – Vibes! | Warner Bros. Records 2014
[3/5 stars / for thenoirmagazine.com]
Theophilus London is a Brooklyn-born singer-rapper whose first artistic output emerged in 2011 on Warner Bros. Records. Known for working with artist’s across many genres (TV on the Radio, Tegan & Sara, Solange), London’s aesthetic is very much a blend of his influences – in some cases, this can be a negative attribute; however, this New York MC crafts an invigorating blend of genres unlike any other musician in hip-hop. London’s most anticipated release to-date is titled Vibes! and boasts production by Mr. Kanye West himself.
Vibes! enjoys sparse production that melds 60’s and 70’s soul with modern R&B and hip-hop. Pulsing rhythms carry moonlit dance jams to classy, sexy fruition. London’s butter-smooth voice drives each song with a cadence that borders on post-punk. “Can’t Stop” is a stand-out single and perfect example of what Vibes! does; it features vivacious dancehall production, an undeniable hook, and a very confident Kanye West stepping out from behind the soundboard for a verse. This LP irrefutably puts song over substance, suffering from bland, serviceable lyrics without much to dive into; however, London still shines due to near-perfect production and pure listenability. Featuring five-star hooks (“Get Me Right”), beachy stoner jams (“Smoke Dancehall”), and a Devonte Hynes collaboration (“Figure It Out”), Vibes! is thoroughly entertaining.
- Riley Savage / Dingbat
Run the Jewels – Run the Jewels 2 | Mass Appeal 2014
[4.5/5 stars / for thenoirmagazine.com]
Run the Jewels is not a rap duo; it’s an all-inclusive movement whether you’re along for the ride or not. RTJ is made up of prolific Atlanta MC Michael Render (AKA Killer Mike), and veteran New York producer-rapper Jaime Meline (AKA El-P). The group formed after El produced Mike’s fantastic solo record R.A.P. Music. Building off the success of this collaboration, the duo released their debut self-titled record as Run the Jewels in 2013; the LP was met with critical acclaim. 2014 brought a new wave of media attention for the pair, including Killer Mike’s appearance on CNN in regards to the Michael Brown shooting and police brutality. With a slew of fresh eyes and ears on them, Mike and El announced the follow-up to their debut, Run the Jewels 2. Just over a year after their first release, the boys are back with even more intensity than before.
RTJ2’s announcement came complete with outlandish pre-order options, including one labeled Meow the Jewels; this proposition stated that, for a mere $40,000, Run the Jewels would re-record their new album using only cat sounds. Evidencing their influence, a Kickstarter for the project emerged and the idea was fan-funded to completion. Mike and El assured supporters that Meow the Jewels would happen, and all $40,000 would be donated to the families of the victims of police brutality. Combining humor with dignity, these two are truly revolutionary. With the Run the Jewels campaign, Jaime and Mikey invite listeners to jump behind a noble cause or risk getting crushed in its path.
Sonically, RTJ is characterized by extremely heavy, bass-driven production and a no-holds-barred way with words. Mike and El’s talent is so blatant that it isn’t worth analyzing – Run the Jewels is not out to prove themselves as musicians, they’re out to change the world. The RTJ2 agenda is lengthy, but handled with poise only achievable by a duo with this uncontested sense of purpose. Killer Mike and El-P tackle issues of brutality, misogyny, religion and pretty much every other modern avenue for fakeness with the fervor of pro-bowl linebackers. The duo isn’t fighting alone; Aside from their dedicated fan-base (labeled Jewel-Runners), RTJ brings in like-minded talent to make sure they cover every concern on their schema. Reaching across the boundaries on genre, Mike and El enlist everyone from Beyoncé-producer Boots to Foxygen drummer Diane Coffee for features. Rage Against the Machine’s Zach De La Rocha appears on “Close Your Eyes (And Count to F**k),” dropping a ferocious verse and the best guest-appearance on the LP; however, this is disputable, thanks to the one and only Gangsta Boo. The former 36 Mafia member drops by to spit a tremendously vulgar verse, elevating the cringe-worthy yet powerful “Love Again.”
As Run the Jewels 2’s forty-minute freight train exits from view, it shows no signs of slowing. On the incredible closer “Angel Duster,” the duo is still spitting with the same ferocity they were on track one. Killer Mike reassures you that he is one of the best: “I kill my masters / I mentor none / that means when I die that’s it / my style is gone, I’m a one of one.” Uniting artists and fans from all walks of life against the evil we see in society, RTJ2 is much more than an album – it’s an event. As previously stated, Run the Jewels set out to change the world. They just might – hell, they have already.
- Riley Savage / Dingbat
Mick Jenkins | The Water[s] (Mixtape) Review
Cinematic Music Group 2014
for Noir Magazine - http://www.thenoirmagazine.com/
Chicago-based rapper Mick Jenkins popped up in 2012 after his a capella poetry caught the attention of local hip-hop enthusiasts. Following a promising 2013 project, and a springboard collaboration with fellow Chi-town rappers Chance the Rapper and Vic Mensa, Jenkins started crafting what has become The Water[s] – quite possibly the best mixtape of 2014 thus far. It is quite likely that this project will catch your eye before it catches your ear; the tape is blessed with brilliant ‘album cover’ design that features a fully submerged Mick Jenkins and distorted type treatment – an image that perfectly captures the sonic quality of The Water[s]. The tape follows a loose concept, packed with water metaphors knotted tightly to waterlogged, minimal production. Mick throws his wordy, intricate flow atop bassy, spacious beats song after song without a misstep among the bunch.
The MC provides a snapshot of Southside Chicago in an accessible way, using water as a metaphor for just about everything he experiences: drugs on one track, love on another, etc. A metaphor that could easily grow tired over the course of a full mixtape is redeemed by undisputable authenticity and exceptional craftsmanship. Mick blends his sensitivity with his street mentality perfectly, but all through the lens of a forward-thinking songsmith. The rapper integrates clever lines without coming off cheesy (“Since Boy Meets World it’s been savage”), but sometimes gets too complex for the listener to catch the meaning on first listen (“Everybody wants to be the back of a D. Rose” – meaning #1, Derrick Rose’s basketball number). The most invigorating part of Mick’s style, however, is his dedication to realness. He calls out rappers’ tendencies to share women – even calling them groupies – and criticizes Riff Raff fandom; this commitment to veracity is something he and Vince Staples have in common. Jenkins’ victory is not unassisted, though; the up-and-comer nabs production from Pro Era collaborators Kirk Knight and Statik Selectah, also adding vocals from The Mind and fantastic guest verses from No Name Gypsy and Joey Bada$$. After just 2 years in hip-hop, Mick Jenkins’ yield is as fluid as his concept; there is a promising future ahead of this young Chicago rapper.
Essential Tracks: “Jazz”, “Dehydration”, “Shipwrecked”, “Jerome”
For Fans of: Joey Bada$$, Kendrick Lamar, Isaiah Rashad, Earl Sweatshirt
Childish Gambino | STN MTN/Kauai Review
Glassnote Records 2014 (McDJ)
for Noir Magazine - http://www.thenoirmagazine.com/
If you are just hearing of Childish Gambino, here is a quick catch-up: Childish Gambino is the Hip-Hop moniker used by Actor/Writer/Comedian Donald Glover (of “Community” fame). The name “Childish Gambino” is taken from an online Wu-Tang Clan name generator. The rapper has released many projects, his most notable being 2011’s Camp, 2012’s Royalty Mixtape, and 2013’s Because the Internet. His style has progressed over time, each release gathering less from Glover’s comedy background (although the Royalty mixtape featured a very funny Tina Fey cameo). The Because the Internet era featured a somber Gambino; exploring his emotional side, posting a near-suicidal string of Instagram posts, and an odd, Rick Ross-featuring screenplay that accompanied his new LP. This depressed, weed-loving new persona has appeared in just about every interview since.
Fast forward to 2014: Gambino drops an impressive (although sometimes whiny) freestyle on Hot 97 causing a good chunk of Gambino doubters to nod along and reconsider. Hot off the high of a viral freestyle, the Atlanta MC dropped a surprise mixtape/EP entitled “STN MTN/Kauai”: So here we are. First off, it’s difficult to call this one project. The separation between the two parts (STN MTN and Kauai) is undeniable, making the decision to alternate between songs from each part for the tape a real head-scratcher. Kauai is Gambino’s pop-rap side and will appeal to fans of hits like “V. 3005” or good production in general. Excluding only “RETRO [ROUGH],” Gambino knocks the production out of the park with Kauai. “Sober” sounds like the kind of hook-based pop cut that could’ve been written around the time Camp was released, but finds Childish sounding like a cross between Drake and Adam Levine. For the first time ever, Glover’s singing on this project is actually pretty impressive; juxtaposed against the EP’s nearly flawless pop production, Gambino’s vocals feel more at home. The Weeknd’s influence is clear on this one, especially on alt-R&B jam “Pop Thieves.”
“Poke” finds the EP at it’s most interesting; the distorted, eccentric beat wouldn’t feel out of place on a How to Dress Well record, and Gambino’s singing compliments it surprisingly well. However, the track is stripped of credibility after a shameful verse from Donald’s brother – during which we learn that making “everything a fuckin’ joke” runs in the family. Sadly, Kauai sacrifices substance for sound. The MC rarely says anything even remotely interesting on this EP; seldom breaking the mold of pop song simplicity to drop cheesy lines about Hawaiian girls and smoking weed or to let Jaden Smith conduct what sounds like a live recitation of his tweets. On “The Pallisades” – which almost sounds like an N’SYNC song – Gambino says he’d rather be smoking a J at the beach with bae, and that might just be the manifesto of Kauai. Childish isn’t really saying anything, and that’d be okay if he didn’t claim to be saying so much.
The other half of this project begins with a spoken word introduction from Donald himself. Throughout this monologue, he explains his dream of running Atlanta, and what he’d do if he did. Firstly, I think Outkast and Killer Mike have that on lock. Secondly, we all wish Chik-Fil-A was open on Sundays but this intro seems extremely forced. While Kauai showcased Gambino sensitive pop-singer side, STN MTN projects his ‘harder’ side; the tape contains more rap than pop, and features Gambino’s wordplay-heavy, animated flow. Furthermore, STN MTN suffers from production that ranges from mildly interesting to downright awful. Themes of this tape include money, sex, and Atlanta struggle rap – a topic that does not sit well coming from a former Saturday Night Live writer. At times, this tape is almost unlistenable; on “Fucks Given,” Glover uses Juicy J-style flow on an unfinished beat. On “AssShots Remix,” He brags about banging a groupie and provides the worst guest verses of 2014 courtesy of his “ROYALTY” crew. Much of this money-chasing content is hard to swallow because Donald Glover already has money; what he seems to really want is acceptance in hip-hop. By conforming to these clichés, however, Gambino’s act feels like a sham rather than “real rap” Glover has a sense of urgency that seems unfounded, but he still manages to entertain with much of this project. Outside of Kauai, his best offering comes in the form of “You Don’t Have to Call,” which incorporates lush production and adopts his ‘sensitive guy’ persona for a verse much like his guest-spot on Jhene Aiko’s fantastic cut “Bed Peace.”
The biggest problem with this project is that it perfectly illustrates the two sides of Childish Gambino’s music; the animated wordplay of STN MTN and the sensitive singing of Kauai. This is only problematic because neither feels authentic. The real Donald Glover lies somewhere in between the two. Gambino’s request to be taken seriously is debunked by his cartoony flow and lines like “Semen on her stomach, that’s a second coming,” and the unforgivable “something crazy and Asian, Virginia Tech.” No matter how many times Childish 'earnestly' says he’s real, it never gets easier to believe. And despite being a confusing mish-mash of personalities, Gambino has once again managed to make a generally good mindless listen (in Kauai). Best practice for this tape is to take the advice of one of Gambino’s heroes: “don’t think about it too much.”
Best Tracks: “Sober,” “Pop Thieves,” “Poke,” and “You Don’t Have to Call”
For fans of: Drake, The Weeknd, Miguel, Big Sean
how do you plan to do the spoken poetry songs live?
with instruments and microphones most likely