Weekly Fix #41 ('20)

Welcome to the Weekly Fix, where I go over everything that I’ve listened to that has come out within the past week. I’ll give a little blurb about the project/single with my feelings on it thrown in there, throw some descriptors and other artists names to give you an idea what the project/single is like, and link to all applicable streaming services where you can find the music. The bottom section will be devoted to projects that have Bandcamp or online webstore links, to give a greater highlight to those artists who you can support directly. Click here to see a list of previous Fixes.

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So yeah this is coming out late as fuck. I have one excuse: … I suck.

A good number of projects and singles came out this week, but looking at both together I think we have a clear winner in the UK department; go back to the Singles post to see Grime hits from Ghetts and D Double E, and a biting diss track from Chip towards Stormzy. Combine that with the huge EDNA release from Headie One, and you see London had one of its best weeks of 2020 this go around.

Otherwise, there are plenty of other REASONs to be excited (see that, what I did, see it, “REASONs”?, TDE guy, and like reasons, see that), from a brand new Top Dawg drop, an enlightening EP from RJ Payne, and another in a long string of deadly Toronto releases.

This is releasing on Friday (again, I suck), so y’all can see what’s happening: Benny the Butcher has a project with Hit-Boy out now, new T.I., Black Thought finally dropped his Streams of Though Vol. 3, and I haven’t seen this yet but supposedly al.divino and DJ Muggs are dropping their long-awaited KILOGRAM today. Check in on everything over on my Upcoming Heat page, which is a sort of running calendar of releases that I try and update with anything I see coming down the pipe.

Thank you all for being so patient with me and my dumb ass; I’m a huge procrastinator, and this week it got crazy. You all are the best, I love the support from all over the world, and I’ll see you next week.

Here’s a link to the Week #41 (’20) Playlists

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Here’s a link to the Week #41 (‘20) Singles

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Here’s a link to the Week #41 (’20) Art Appreciation post

-----STREAMING PROJECTS-----

Headie One – EDNA

Cover Artist: [Unknown]

This is going to be the highest-profile UK release of 2020, without a doubt, and the project that cements Headie One as the leader of the UK Drill movement (I’ll just call it Drill from here on out). It’s long, 20 tracks in fact, with a majority of the tracks having a guest vocalist/rapper on them, but it really comes together as a statement of the genre’s appeal and staying power. There are a lot of different directions that Headie could have gone in with this project, and the farther that the London scene gets from it’s Grime roots, the more like American pop-rap Drill becomes, which is not at all a bad thing if the similar scenes in Brooklyn are any indication. You can get the weird beat structures and British lingo in spades on this project, but there is a also a refinement that shows itself in that trap influence; in terms of accessibility, I think these qualities of the record make it one of the best starting places for anyone looking to get into music from this genre. But it’s not just the sound of the record that is friendly to new listeners, but some of the names you’ll find on here too: Kenny Beats has some great production on here, and we get verses from two Kings of the American rap scene, Future and Drake. If someone in the states had either one of these men on their albums, it would be a flex, but both of them is a crazy moment of cosign from the American market. The bigger cosign is the British scene at large, with pretty much anyone of significance in that scene tapping in to help Headie: Skepta, Stormzy, Aitch, Young Adz, AJ Tracy, M Huncho, and the list goes on. A huge moment for Drill, and one that I hope extends into 2021.

Spotify/YouTube/Apple Music

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REASON – New Beginnings

Cover Artist: [Unknown]

TDE’s first release of 2020, a deafeningly silent year from what can be argued was the most sought-after label in hip-hop not too long ago. With all of the expectations that were being placed on this album through the legacies of the Kendricks and ScHoolboy Qs, this album rollout was destined to be a shitshow, and it has little to do with the actual quality of the record. This album is not bad by any means: there is a great fusion of the introspective natures of TDE as a whole and modern trap/gangsta rap that albums like DAMN. did so well, and REASON as an emcee is no joke, spitting articulately and fluidly with a great presence. New Beginnings does not hold a candle to the legendary albums of TDE’s past, but it was not made to do so by any means; I feel like that disconnect is what people will be quick to point out and judge this album for, and not for the great music actually found within. There are great moments on here like Window Cry, Extinct, and Flick It Up that sound like the best the label has to offer, and the production across this thing is the quintessential TDE sound and more substantial trap music. I love the storytelling ability that REASON holds, and I think that, next to ScHoolboy, he ranks among the most humorous of Top Dawg emcees. The features on here are also pretty solid, with Ab-Soul, Q, and Isaiah Rashad showing up to help one of their own, and people like Rapsody and Vince Staples continuing the deep connections they’ve had with these artists in the past. This is a solid album, and I think if people looked past the (admittedly high) expectations placed upon it, I think they will find something worth loving on New Beginnings.

Spotify/YouTube/Apple Music

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Real Bad Man – On High Alert Vol. 3

Cover Artist: Real Bad Man

I did not know anything about the Real Bad Man brand before this project, and for those of you who don’t know they are actually a sort of art/fashion collective that have dropped some pretty sick shit in the past. But to really show how deeply connected they are with hip-hop culture, they’ve been coming with these fire little EPs (which would be fire based on the strength of the instrumentals alone) that FLEX the biggest names in the underground and hip-hop at large. CRIMEAPPLE, Flee Lord, Rigz & Mooch, Boldy James, Meyhem Lauren, KOOL G RAP? Anyone who can get a lineup like this is deserving of a listen, I don’t care who you are, and getting those rappers over these quality beats just makes the experience that much better. Great samples, punchy drums, and A-quality performances from the guests make this essential listening this week, and probably among the best EP’s of 2020 once all is said and done. It’s only 6 tracks, so there’s no excuse with this one: listen.

Spotify/YouTube/Apple Music

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Papoose – Endangered Species

Cover Artist: thakidshadow

Papoose, the undisputed perpetual underdog in underground New York hip-hop, is a rewarding rapper to be a fan of. He comes with mixtapes regularly, has a pen that hasn’t lost an ounce of it’s shine in damn near two decades, always manages to speak on the problems of today in intelligent and respectful ways, and will always get quality production as long as New York is alive. Endangered Species is simply more of what makes Papoose a great artist, nothing more, nothing less, and this isn’t a bad thing in any way given the skill and consistency shown, but if you aren’t into the pure-blood New York rap scene that goes back to the 90’s this project probably won’t change your mind. I’d still give it a listen to see how creative Papoose is as an emcee, often working in complex structural themes into his tracks like the Numerical Slaughter series and the final track Tribute, which is an A to Z list of black individuals who have lost their lives to police oppression (done over 50’s Many Men to boot). The other thing that is mighty impressive are some of these instrumentals, with tracks like Boxcutter and Antidote being some of my favorites Pap has ever spit on. Solid little project from New York’s most consistent emcee.

Spotify/YouTube/Apple Music

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-------SOUP’S HOT DEALS-------

RJ Payne – Beautiful Payne

Investment: $13.00

Cover Artist: crthebeast

Y’all know how much I love RJ Payne over here on Tha Soup Dude’s Kitchen, but this EP right here is a real turning point in the guy’s career in the best way possible. I was enamored by the aggressive and bloodthirsty Payne describing ways he’d murder you physically and on the microphone on projects like Leatherface and Square Root of a Kilo, but Beautiful Payne is RJ actively trying to pen bars that “mean something”, and what that results in is an EP that discusses politics, police brutality, and the state of the world today. I wouldn’t call this a “level-up” of his skills persay, but rather a translation of what made him so powerful as a hardcore hip-hop emcee into a more conscious mindset, a thoughtful and reflective shift in subject matter from someone that recognizes the reach of his platform and his capacity to do good. The great punchline setup in his bars are still found here in spades, with almost everything he spits being created to have the most impact and heft, put behind his snarl of a voice you can’t help but listen to everything the man says. The beats on here reflect the changes in RJ’s approach to the lyrics, being a more soulful and forlorn spread of samples, on the slower side so that RJ can take his time dissecting his points; I love the heavenly bliss of Ventilation, and the wailing horns on Heard God Cry. I think the most important aspect of this EP is something that isn’t even on the album itself: this is the first release that RJ Payne has put on all streaming services immediately and promoted to get him the most exposure. He still has this thing up on his website for purchase, and you guys should definitely look into supporting the guy, but he’s wanting people to stream this to get his profile up, so let’s oblige him here.

==> Payne's Website <==

Spotify/YouTube/Apple Music

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Futurewave, Finn, & Saipher Soze – Eat What You Kill

Investment: $30.00

Cover Artist: [Unknown]

Toronto is on fucking fire this year: Daniel Son, Futurewave, Asun Eastwood, and Finn have all had a crazy 2020 in terms of quality releases already, and it’s only right that their very close accomplice Saipher Soze come in and join the party. If you like Daniel and Asun, Soze is that third pea in the pod with those gentlemen, because his pen game is just as crazy as theirs, with a more aggressive and junkyard nature to separate him from the rest of the wolf-pack. There is a particular deadliness to his delivery and bars that make him almost scary to listen to, like a grinding machine that spits hardcore hip-hop lyrics. He reminds me in a lot of ways to the disgustingness of Kool G Rap, while also being very similar to Family Gang Black in vocal quality (I’d say that Saipher is more blunt with his words than Family Gang’s technical deliveries), so if you fuck with those guys there is no reason why you won’t love Soze. Saipher Soze is one blessed individual to have an album produced by both Futurewave and Finn, and the way they go about the instrumentals here is cool as fuck. Each producer has seven beats on here, and they take turns going back and forth trying to outdo the last, a competitive spirit in *producers* that I don’t I’ve ever seen before in an album; it’s like there’s a battle with the street lyrics Soze is bringing, but there’s also a hidden war behind the scenes between the two puppet masters. Finally, and really the icing on this Canadian cake, is the deluge of features that the three bring in on this one, from the no-brainers Daniel Son and Asun Eastwood, Rochester heavyweights M.A.V., Mooch, and Family Gang Black, and a great verse from Jai Black. The whole thing comes together like a hearty three course meal, which is absolutely what I’ve come to expect from any underground hip-hop coming out of Toronto right now. Listen to this if you value that real grimy and true-to-form hip-hop.

==> Futurewave's Website <==

Spotify

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Bub Rock – A Peace Of Mine

Investment: $16.00

Cover Artist: no.pulp

Out of all of the underground emcees that have caught my ears this year, I don’t think there is one as wholesome as Bub Rock, who spends the majority of his time on the microphone reflecting on his relationships with both other and with the hip-hop game and it’s pitfalls. Trading in drug-dealing/murder-talk for personal growth and more down-to-earth and relatable material, you feel a connection to Bub that is rare in this section of hip-hop. This connection comes from the lyrics, yes, but there is also the very stream-of-conscious and poetic flow and rhymes structures he comes with; not everything rhymes, or at least not everything rhymes in ways that you would expect, sounding like he’s reading from a book of poetry or his own personal diary of emotion and insecurities. There’s a Jay-Z-ish wisdom to his bars, a Talib Kweli approach to real issues that I appreciate greatly, with a vocal tone that reminds me (if anyone remembers this dude at all) of Al Be Back. Whenever you bring in the instrumentals, which can be hazy boom-bap like Lxve or Black Hole, or a whole other breed of positive and sunny vibes like the KILLER T Forever and Pagne, it shows a depth of soul and sample-chopping that sounds right out of the 9th Wonder/Kanye West playbook. A perfect garnish of features from Rim and Ty Farris make this a powerful listen on all fronts, and a great place to start if you’re looking to get into an artist that really values the poetic nature of his craft, someone that makes music to talk through his hardships and struggles. Listen to this if you’re looking for real situations and some serious life-talk.

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Vic Spencer & Icon Curties – Bare Maximum

Investment: ~$12.00

Cover Artist: ANDREA CARA INKLINE

Why, oh why, is this so criminally short? These beats are crazy man, I could easily see these being some late 2000’s/early 2010’s Alchemist beats, with very particular instrumentals that don’t flash or shine as much as precisely use the sounds needed to make compelling sounds. That Cheesehead beat has been in my brain for days now, gentle pianos and even gentler drumwork, and Havoc and Rage is amazing with it’s smooth instruments and that perfect vocal chop. You just start getting into the vibes, but then the project ends at 10 minutes and you want MORE. For what seems like little snippets of songs, Vic does well over the beats, able to bring character to a track with just a few words more effortlessly than most rappers out there, and he even makes some time to quality guest features from $ha Hef and Et0. I wish I had more to say! Everything about this very small EP is just perfect, and if you have an extra 10 minutes you should definitely give this stellar project a listen.

Spotify/Apple Music

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