Overall, some of the biggest artists in hip-hop have helped provide us with the best rap albums of 2024. However, we have also gotten some incredible albums from underground talent as well. Even artists who started their careers as YouTubers have helped contribute some dope projects to the table. In 2023, during hip-hop’s 50th anniversary, there were some who tried to act as though the genre was in a bad place. That somehow there was a lack of quality music being produced. That turned out to not be the case whatsoever and we got some incredible music. In 2024, things have gotten even better with artists like Vince Staples, Rapsody, and even ScHoolboy Q giving us some of the best records of the entire year. Having said that, let’s dive into the 25 best rap albums of 2024.
Chief Keef emerged from Chicago’s South Side to become one of the most influential figures in modern hip-hop. His raw lyricism and distinctive delivery played a pivotal role in popularizing the drill music genre. Born Keith Cozart, the rapper’s work reflects the harsh realities of his upbringing and reshaped contemporary rap’s soundscape. Chief Keef’s breakout tracks have consistently showcased his unique ability to translate Chicago’s street life’s gritty, unfiltered essence into compelling music. This has also helped earn him a dedicated following and critical acclaim.
Further, Keef’s influence extends beyond his musical output, impacting fashion, slang, and the overall aesthetic of street culture. His rebellious persona and innovative style have earned him a place in the annals of hip-hop history. This exploration of five essential songs provides a deeper understanding of his artistic journey and the legacy he continues to build. By dissecting these tracks, we gain insight into the elements that define Chief Keef’s sound and his significant contribution to the genre.
1. “I Don’t Like” (2012)
“I Don’t Like,” released in 2012, is arguably the track that propelled Chief Keef to mainstream recognition. Produced by Young Chop, the song features a menacing beat paired with Keef’s straightforward and confrontational lyrics. The track quickly became an anthem, reflecting the frustration and defiance of youth in Chicago’s troubled neighborhoods. Its repetitive, hard-hitting chorus and raw delivery set it apart from the polished productions that dominated the charts at the time.
A high-profile remix featuring Kanye West, Pusha T, Jadakiss, and Big Sean amplified the song’s impact and further cemented its place. This remix not only brought more attention to Chief Keef and the Chicago drill scene but also showcased the growing influence of this new sound on established artists. “I Don’t Like” highlighted the stark realities of street life. It offered a gritty counterpoint to the mainstream hip-hop of its era and set the stage for Chief Keef’s continued influence in the industry.
2. “Love Sosa” (2012)
Another cornerstone of Chief Keef’s discography, “Love Sosa,” exemplifies his knack for creating catchy yet hard-hitting tracks. Released in 2012 as part of his debut studio album Finally Rich, the song’s melodic hooks and infectious energy quickly made it a fan favorite. The track opens with a memorable intro by fellow GBE member Lil Reese, setting the stage for Keef’s assertive verses. Its production, characterized by booming bass and eerie synths, perfectly complements Keef’s vocal style.
“Love Sosa” solidified Chief Keef’s reputation as a leading figure in the drill music movement. The song’s widespread appeal helped introduce Chicago’s streets’ raw and unfiltered sounds to a broader audience. Its influence extended beyond music, impacting fashion trends and street culture. With its blend of melodic elements and hard-hitting lyrics, “Love Sosa” remains a defining track in Chief Keef’s career.
3. “Hate Bein’ Sober” (2012)
Released as a single from his debut album Finally Rich, “Hate Bein’ Sober” captures Chief Keef’s unfiltered approach to music and life. The track features guest appearances from 50 Cent and Wiz Khalifa, combining street credibility and mainstream appeal. The production, driven by infectious synth lines and heavy bass, creates an anthemic vibe that complements the song’s rebellious themes.
Despite the collaborative star power, Chief Keef’s presence remains the focal point, with his delivery and candid lyrics about the struggles and escapism associated with substance use. The song’s relatable themes also resonated with a wide audience. “Hate Bein’ Sober” highlights Keef’s influence on the drill scene and showcases his ability to cross over into mainstream success while maintaining his authentic voice.
4. “Faneto”
“Faneto” is one of Chief Keef’s most iconic tracks, despite not being attached to a major album release. The song, included in his mixtape Back From the Dead 2 (2014), quickly became an underground hit. Its minimalist production allows Keef’s aggressive delivery to take center stage. The lyrics, filled with braggadocio and defiance, reflect Keef’s unyielding persona and his dominance in the rap game.
The track’s impact extends beyond its initial release, becoming an anthem at concerts and social gatherings. “Faneto” is celebrated for its role in firming Chief Keef’s status as a pioneer of the drill movement. Its enduring popularity is a testament to Keef’s influence and the song’s ability to capture the essence of Chicago’s street culture. “Faneto” remains a powerful statement of independence and resilience.
5. “Citgo”
As one of the standout tracks from his debut mixtape Bang (2011), “Citgo” demonstrates Chief Keef’s early sound and raw potential. The song’s production, with its haunting melodies and heavy bass, creates a dark, immersive atmosphere that complements Keef’s gritty delivery. His lyrics paint a vivid picture of life in Chicago’s rough neighborhoods, highlighting the struggles and the defiance that define his music.
“Citgo” showcases Keef’s ability to blend introspection with street narratives, offering listeners a glimpse into his world. The track’s haunting beat and memorable hooks have made it a lasting favorite among fans, further establishing Keef’s reputation as a pioneer of the drill genre. Its influence can be seen in the work of many following artists, making “Citgo” a crucial piece of Keef’s musical legacy.
When it’s all said and done, the biggest victory in the West Coast’s dominant 2024 run, bolstered by new ScHoolboy Q and Vince Staples albums plus a fiery yet unitary Kendrick Lamar beef, might just be the slew of new artists that emerge in its wake. Devin Malik is leading that charge with a big smile on his face and one of the most versatile sets of talents and sounds you’ll hear this summer. The Philly native was raised in Southern California’s Inland Empire, and made a name for himself by producing for artists like Isaiah Rashad, Amindi, and most recently Q on his album BLUE LIPS. Now, this unpredictable and uncompromising sonic career has led to one of the most hard-hitting and creatively malleable albums of the year so far.
DEADSTOCK is Devin Malik’s new record, bolstered by bouncy singles like “BACKSTAGE” and gritty teasers like “LINK DUCKER.” On it, he speaks on his turbulent and self-conscious navigations through the music industry, his grounded lifestyle with way too many overzealous women in it, and his continued focus on representing all the different parts of his upbringing in as vivid and varied of a painting as possible. It’s vibrant, zany, wall-to-wall fun, and refreshingly risky. In this exclusive interview with HNHH, Malik discusses witnessing K.Dot’s “Pop Out” earlier this month, the many lessons he’s been blessed to learn, and his next ambitions as a sonic director, filmmaker, and potential computer scientist. You don’t need a doctorate to hear the wealth of ideas and approaches he brings to the table.
This interview, conducted via Zoom call on Monday, June 24, has been lightly edited for brevity and clarity.
The HNHH Devin Malik Interview
HNHH: Devin, thanks so much for being here! I wanted to start by asking about what you’ve been doing these days waiting for DEADSTOCK to drop. Are you ironing out the finer details, trying to celebrate early, or just going about your day as usual?
Devin Malik: Honestly, I’m definitely not celebrating. I’m not one of those types of guys that I want a big glory rush or something. *laughs* But I’ve been really just still in the studio, just doing normal everyday things. Obviously, like interviews and whatnot, doing the rollout and that kinds of stuff. But my days look pretty much the same, man. Wake up, hit the gym, hit the studio, go to bed.
I took the title DEADSTOCK to maybe mean a couple of different things. Mainly, I think of unsold inventory being discontinued for whatever reason, but I also think about farm tools or meat products as opposed to livestock. Not to spoil the album too much, but can you talk about why that title in particular kind of resonates with you and whether or not you also looked at it through different ways on the project?
You hit it on the note with the first one. It’s hard to find, rare, discontinued. I just feel that way as an artist because I get so many different flavors and genres on this project that I feel like it’s a lost art in today’s artists. Like, they find one sound that works and they just abuse it. Which I’m not mad at, but I just feel like I’m in a rare bracket. That’s why I really named it that, honestly.
You described DEADSTOCK on social media as “an audible horror film” with “lust, rage and comedy.” Even though that obviously comes off a lot in the production, I feel like your vocal delivery was also a big part of that on the album. Outside of your musical inspirations and knowledge, what else inspired you within film or other art forms in terms of how you used your voice on the album?
Well, I’m a Blumhouse guy. For people that don’t know that, this guy named Jason Blum, he runs a production company, Blumhouse. They do all types of horror films, like f***ing Split, Happy Death Day… I’m drawing blanks right now, but they do a lot of that. So I draw a lot of inspiration from that and just, like, how his mind and how their whole operation runs. I’ve got a lot of inspo from that, for sure. And I put it into my music somehow, in stories I tell or even little effects I use in the music.
Going off of the “comedy” description, do you have a funniest bar on the album or a moment in particular, while you were recording it or during the creation of it, that prompts that comedic description from you for the album?
Honestly, I’m just a very, very funny guy and I’m a funny, strange guy in general. So I just wanted to put that across into music. I don’t think there’s a specific line, but I feel like there’s always little stuff in there that kind of makes it funny because I don’t want to be serious all the time. So it’s not like I even went in with that intention, but when I listen to the album back, there’s definitely some comedic relief in here in some of these weird stories.
Especially with a lot of the romantic angles that you present on songs like “STRIPPERS” and “MOONLIGHT,” I feel like there were some funny jabs in there.
*laughs* Yeah, “MOONLIGHT” is a funny one for sure, that whole song.
You started off selling beats and working with Isaiah Rashad, Amindi, REASON, ScHoolboy Q, all these great artists, and I always find it interesting when the rapper-producer gets to flex both muscles in a way. Since you started taking your own raps more seriously, have you noticed that you’ve changed your production approach or think about the processes of producing and rapping differently? Or have all these things just always been in your head?
I wouldn’t say I changed my approach. But I definitely know what I personally want out of the music. So making it my own project, rather than producing for others, I have complete creative control over my own vision rather than it being predicated towards someone else’s sound, or obviously, whatever they’re trying to get across. It’s kind of easier for me, because I don’t need anyone to talk to. I don’t need anyone, it’s just complete tunnel vision. So I kind of enjoy it more, in a way.
In an interview with The Nuance, you said that your production style really depends on what your other collaborator wants, or what you agree upon together. On DEADSTOCK, you apply that mentality to the different sides of yourself. Do you feel like you have a signature sound for yourself that you want to prioritize moving forward? Are you still excited about molding yourself to different approaches and genres and still having that versatility?
I don’t think I’ll ever have, quote-unquote, a particular sound because I just get bored too easily. So the next one won’t sound like the next one, or like the next one. But what I have learned through this process is just finding a particular tone of voice that I really like. And I think that was the hardest part about all of this and making this.
On a quick note, during that same interview, you also hinted at maybe completing your computer science degree one day. Is that still a goal for you? Are things too busy right now?
*laughs* Things are 100% too busy right now. But I be trying to knock out a class here or there when I can. Like, right now, I’m in two classes, but all online. So, on some summer-type s**t. But yeah, I definitely still want to do that. Whether it takes me ten years, five years, 15 years, it’s just something I really want. I still love computer science.
As I understand it, you’re now officially signed to TDE as a producer after having worked with so much of the team for so long. What do you hope to learn the most from this process? What excites you about being able to contribute to the label’s artistry and sonic directions?
Honestly, I just really want to learn the business side of music. That’s been my whole goal now and being signed is definitely easier. Just in the rooms you’re in and the comments you get to hear, so I just pick up on a lot of s**t just listening. So that’s a big plus. It’s just exciting every day, because these are the artists I grew up listening to and appreciating. So being able to be in the same room, there’s just so much to learn in that and so much excitement in that. So I think it’s really as simple as that. Just whatever I can do to help them push their vision, or whatever I get from it, it’s really just a plus.
You’ve spoken a lot about how your cousins in Fontana broke you into the music space and how you learned from them. What do you appreciate the most about being able to start your artistic process not just with fellow artists, but with these fellow artists that are your family?
Well, yeah, that was a plus. Number one, no one is looking at you like some type of dollar sign. It’s truly like a genuine connection with your family. So learning from them, I’m very grateful for that. In the sessions I got to be in, I literally got to see how how you record music. Like, in the most literal way, I got to see how you interact with different producers, how you interact with the artists, studio etiquette, all that type of stuff. So I owe it all to them for sure for that.
You sold your first beat to D. Savage when you were in high school. Looking back at that process of sending out beats and everything, what’s one thing about said process that you didn’t know back then, but that you learned further on that you would’ve wanted to keep in mind in those early days?
I would say that trying to link with an artist is a lot more important than just sending beats all day. Like, sending beats all day is going to get you the connect to get to them. But once you do that, you should really try to build an actual bond with them. Like, not on no weirdo time, but just a genuine connection with them and try to build some sort of work friendship.
Juxtaposition and not getting boxed in are some of the most important things to you in your artistry and on DEADSTOCK. For this album specifically, how did you balance that process of the different types of emotions you wanted to engage with and what sounds you wanted to play with? How did you stay tapped into all these different parts of yourself while still organizing them into an album that feels more cohesive and intent-driven?
When I was making it, I wanted to go half melodic and, like, half bangers. But I also wanted to sprinkle in, like… It’s different stuff that you can’t find anywhere else. I think it’s a couple of songs on there that you literally can’t find nowhere else but there. And that was really important to me when I was making it. ‘Cause it’s so easy to make, like, fun songs and stuff to get the people hyped, the crowds hype. But I also wanted to give something that was kind of more intriguing or something that people might not get or might hate. I find a lot of power in that.
I do want to ask about a couple of lyrics that I caught on my listens. On “GEEKERTOWN,” you rap: “We don’t relate to rappers, they need millions to have fun / We don’t relate to actors, can’t escape the roles they love.” Now that you’ve seen how the hip-hop and music industries move on a lot of different levels, what are some of the mistakes or misconceptions about artists and celebrities that you want to try to avoid that you see your peers fall into?
Well, for the first line, I was really referring to the real people I know that will fly a girl out to where they’re at, take her shopping, take her to a nice dinner, get her a purse, just to have sex. Like, $8,000 just to have some sex. To me, I never had to do none of that. I could take a girl to Wendy’s, we could go to the movies… $30 and something hot at the end of the night. *laughs* That’s what I meant by that. It’s just a lot of extra stuff just to, like… I don’t know. I don’t know, they just be weird sometimes.
Then the second line, that was just another play on f***ing Hollywood, bro. I was at this party. I’m not going to name the actor, but it’s a dude that’s from the suburbs and didn’t grow up being a tough guy or nothing. But at this party, he’s trying to get in fights and be the toughest guy in the scene when, really, nothing was happening. It was a role he played in a movie where he was a tough guy. So I was like, “I wonder if he just can’t escape that reality. That role or that movie.” That’s really what it was.
Did you approach tracks like “GEEKERTOWN” with a topical focus in mind? You mentioned that sometimes you will freestyle on your beats, and then that will get the creative ball rolling. But were there any ideas that you specifically wanted to make a statement on?
Man, I wish I could say it was more of a statement. But it was definitely just free-flow thought, and that’s just what I was on that day.
I wanted to briefly touch on BLUE LIPS a little bit, because I found some sonic similarity between DEADSTOCK and some of your raw and stark productions on that album. Did you feel a creative overlap between your work on these distinct projects? What was the most different aspect about your approach to them?
There may be creative overlap. There’s nothing that I noticed, but it’s probably subconsciously. Like, anytime I work on a project, I just try to do a better job and get better every time. So there’s definitely overlap, but it wasn’t like a purposeful overlap.
You’re a proud moshpit starter, as you mention in a couple of songs and on your social media. Can you remember your first moshpit and speak a little bit on why that specific aspect to live music captivates you so much?
Yeah, I think it was 2017 or ’16. I can’t remember. But it was a Travis Scott show at The Observatory in Santa Ana. And I think whenever they dropped Huncho Jack, forgot what year it was. But whenever, that was the first, like, “Damn, this moshpit is crazy.” I actually passed out during the show. *laughs* There’s still a picture of it somewhere. But yeah, I was like, “Damn, that is intensity.”
What kind of energy do you want to create with your live shows? Considering that you have so many different sides of yourself, do you hope to bring that energy to people?
Definitely with these songs, there’s going to be plenty of moshpit moments. But I’m definitely like, “Okay, we moshpitting now and now I want y’all to hear this rap. Now I want you to hear me try to sing on this stage, to tone it down.” Like, talk to the crowd, tell jokes, all that type of stuff. My shows are going to give the people, like, make them a part of the show, too. Instead of just watching me with the camera, like, really interact with them and get to know them.
What are you looking forward to concerning performances in the future?
I’m about to open up for Q on his run. So I’m going to have the opening set on there. That’s going to be my first real go-around. I think I’ve only done four shows.
Obviously, since we’re talking about live shows, I’d be remiss not to mention “The Pop Out.” It seemed like you had a great time and something that you said you’re still riding the high off of. As both an artistic collaborator with these people and somebody who’s been a longtime fan for so many years, what excited you the most about that chance to see all of them share the stage and celebrate each other and the West Coast?
Well, yeah, the energy was just next level. You really can’t even put words to it. It is definitely a full-circle moment in my life, almost validating towards what I’ve been working so hard to do since I’ve been 14, 15 years old. Yeah, it really just resonated with me. I’m just glad I didn’t stop making music or get discouraged or quit, none of that. Just continued following my path. And then to see them, those are just the homies. To see them do this at such a high level, it just also shows the levels you can still get to by just working on your craft. They show it’s possible. So seeing all of that, just left with endless inspiration.
What is the quality or the philosophy that you want to add to the West Coast canon and legacy? If at all; I don’t want to box you into this West Coast thing, either. But what thought have you given that?
Maybe just to hopefully show people that you can make different types of music. If you’re from the West Coast, there’s always going to be West Coast elements in your music, 100%. Even in some of my music, stuff that you probably can’t even hear. There’s definitely some West Coast flair in it. But I hope, at least, what I’m trying to show is that you can make different types of music and still be considered a West Coast artist without the typical West Coast sound. You’ll still get West Coast respect. That’s honestly what it shows me when you see people up there like Tyler and Steve Lacy. Those aren’t typical, like… You wouldn’t even know they’re from the West Coast, honestly. But they’re West Coast legends, if that make sense.
Yeah, there are some songs like “PDA” where you can hear that more explicitly with the percussion pattern and other breezy moments. “STRIPPERS,” “ANNOYING”… You don’t always need the Mustard beat.
Yeah, and I love all West Coast artists, too. I want that to be known, too. I love all the West Coast artists, too, for sure. I’m listening to that, and I’m sliding around and moving around. So I’m not trying to diss them, but I was just trying to say what I’m trying to do.
Another track with a little bit of that energy to it is “POPPIN OUT THE RANGE!” which is an absolute banger. You rap: “We was running from the cousins we was trying to be / Escape the pain, escape the rain, escape the leash.” Even though you’re always moving forward in your artistry and in your life, how has your artistic process helped you reflect on your past years? Has it taught you anything unexpected about yourself?
I’ll say that making music, as far as putting my vocals on wax, it’s definitely just helped me cope through different situations of life. Because I usually keep a lot of stuff boxed in, but it’s just freeing saying things. And I don’t like talking to people, like, telling them what I’m going through. So I’d just rather put it in a song. That is the therapy for me.
You talk a lot on DEADSTOCK about navigating the industry, fickle females, and folks with vices and problems that they can’t even really understand. But it still feels like you’re enjoying the process and this point of your career. As you say on “WASTE NO TIME,” you can’t waste time on anything. What’s been the hardest thing for you to kind of like navigate in the industry? How do you think that this new album has helped you do so?
The hardest part is just… I guess just the social aspect and having to deal with so many types of people and personalities. You’re almost living so many different lives, it kind of gets draining. That’s lowkey a thing, a big theme of it. But like you were saying, another big theme of it… You said it sounds bubbly and stuff, but I think I constantly did that because I’m just a guy that laughs through whatever. So kind of just laughing at your pain in a way. It could be a fun song, or it could be a lyric that will make you turn your head, but like, it’s a fun song. So I’m kind of just laughing at pain.
“BIG SHOT” was my personal favorite track off DEADSTOCK. The world you build on that song sounds cold, but it’s also kind of perseverant. You talk about settling scores, final destinies, and seeking that balance between the many different aspects of the album. Why do you think that song sounds so different to everything else on the album? Did you have a moment where you knew that it would be the closer?
Well, thank you for that, that’s one of my favorites, too. Actually, that was a song I was making for Rihanna. They didn’t want that s**t. So I had to finish it. Then, I added guitar and all of that on top of it. But yeah, it’s a special one. Like, it wasn’t like a moment where I’m like, “Damn, this is the closing to the album, this is my outro.” Because when I create, I make 25, 30 songs and I just pick from them. It was definitely one that just sticks out sonically, so I’m like, “I got to fit this on here somehow.” And in the sequence, I felt like the only place it was just perfect for was the outro. I don’t think you’ll forget an outro like that, so I just had to throw it as an outro.
How much do you revisit beats? Many say that writing is rewriting, writing is editing. Do you feel that with your productions as well?
Usually, if I make a song, I’ll know immediately when the day is over if I want to add something or if I want to go farther in it. I think that was one of the only… There might have been two other ones that I went back in on. I was just making the whole beat, sequence the whole beat first. Then, everything will be in order. But that one I just felt like there was something missing, so I threw the guitar on there.
Yesterday, you teased a mystery feature on DEADSTOCK via an Instagram Story [which we now know is ScHoolboy Q on “BANG YOUR HEAD”]. To manifest real quick, are there any other dream collaborations that you have in mind?
I think when it’s all said and done, I just must work with Tyler, The Creator and I must work with Kanye West. If those two things could happen, I guess I’ll have really done it all with this music s**t. Those two things can happen one day, so I’m crossing my fingers.
Fingers crossed. Devin, I just wanted to thank you so much again for your time and for this wonderful convo. Now that you’ve built up you know such an amazing run this year alone, building off of all your past success, what else is inspiring you right now other than yourself to keep doing what you love?
Honestly, now I just want to show the world my ideas visually. So I’m going to be 10 times more hands on in my visual representation. Hopefully, to be able to land something with like, a Blumhouse or a f***ing A24. Because I know that I got all the weird ideas.
What is something or someone you would call “day one” that you are grateful for being in your career up until know and that you think is going to stick with you in the future?
S**t, my brother. He helps me a lot with this music. I send everything to him, most ideas I have, I just run it by him. I’m grateful for that guy.
Is there anything else that you want to add anything else, a shout out, a message before we head on out?
When it’s all said and done, the biggest victory in the West Coast’s dominant 2024 run, bolstered by new ScHoolboy Q and Vince Staples albums plus a fiery yet unitary Kendrick Lamar beef, might just be the slew of new artists that emerge in its wake. Devin Malik is leading that charge with a big smile on his face and one of the most versatile sets of talents and sounds you’ll hear this summer. The Philly native was raised in Southern California’s Inland Empire, and made a name for himself by producing for artists like Isaiah Rashad, Amindi, and most recently Q on his album BLUE LIPS. Now, this unpredictable and uncompromising sonic career has led to one of the most hard-hitting and creatively malleable albums of the year so far.
DEADSTOCK is Devin Malik’s new record, bolstered by bouncy singles like “BACKSTAGE” and gritty teasers like “LINK DUCKER.” On it, he speaks on his turbulent and self-conscious navigations through the music industry, his grounded lifestyle with way too many overzealous women in it, and his continued focus on representing all the different parts of his upbringing in as vivid and varied of a painting as possible. It’s vibrant, zany, wall-to-wall fun, and refreshingly risky. In this exclusive interview with HNHH, Malik discusses witnessing K.Dot’s “Pop Out” earlier this month, the many lessons he’s been blessed to learn, and his next ambitions as a sonic director, filmmaker, and potential computer scientist. You don’t need a doctorate to hear the wealth of ideas and approaches he brings to the table.
This interview, conducted via Zoom call on Monday, June 24, has been lightly edited for brevity and clarity.
The HNHH Devin Malik Interview
HNHH: Devin, thanks so much for being here! I wanted to start by asking about what you’ve been doing these days waiting for DEADSTOCK to drop. Are you ironing out the finer details, trying to celebrate early, or just going about your day as usual?
Devin Malik: Honestly, I’m definitely not celebrating. I’m not one of those types of guys that I want a big glory rush or something. *laughs* But I’ve been really just still in the studio, just doing normal everyday things. Obviously, like interviews and whatnot, doing the rollout and that kinds of stuff. But my days look pretty much the same, man. Wake up, hit the gym, hit the studio, go to bed.
I took the title DEADSTOCK to maybe mean a couple of different things. Mainly, I think of unsold inventory being discontinued for whatever reason, but I also think about farm tools or meat products as opposed to livestock. Not to spoil the album too much, but can you talk about why that title in particular kind of resonates with you and whether or not you also looked at it through different ways on the project?
You hit it on the note with the first one. It’s hard to find, rare, discontinued. I just feel that way as an artist because I get so many different flavors and genres on this project that I feel like it’s a lost art in today’s artists. Like, they find one sound that works and they just abuse it. Which I’m not mad at, but I just feel like I’m in a rare bracket. That’s why I really named it that, honestly.
You described DEADSTOCK on social media as “an audible horror film” with “lust, rage and comedy.” Even though that obviously comes off a lot in the production, I feel like your vocal delivery was also a big part of that on the album. Outside of your musical inspirations and knowledge, what else inspired you within film or other art forms in terms of how you used your voice on the album?
Well, I’m a Blumhouse guy. For people that don’t know that, this guy named Jason Blum, he runs a production company, Blumhouse. They do all types of horror films, like f***ing Split, Happy Death Day… I’m drawing blanks right now, but they do a lot of that. So I draw a lot of inspiration from that and just, like, how his mind and how their whole operation runs. I’ve got a lot of inspo from that, for sure. And I put it into my music somehow, in stories I tell or even little effects I use in the music.
Going off of the “comedy” description, do you have a funniest bar on the album or a moment in particular, while you were recording it or during the creation of it, that prompts that comedic description from you for the album?
Honestly, I’m just a very, very funny guy and I’m a funny, strange guy in general. So I just wanted to put that across into music. I don’t think there’s a specific line, but I feel like there’s always little stuff in there that kind of makes it funny because I don’t want to be serious all the time. So it’s not like I even went in with that intention, but when I listen to the album back, there’s definitely some comedic relief in here in some of these weird stories.
Especially with a lot of the romantic angles that you present on songs like “STRIPPERS” and “MOONLIGHT,” I feel like there were some funny jabs in there.
*laughs* Yeah, “MOONLIGHT” is a funny one for sure, that whole song.
You started off selling beats and working with Isaiah Rashad, Amindi, REASON, ScHoolboy Q, all these great artists, and I always find it interesting when the rapper-producer gets to flex both muscles in a way. Since you started taking your own raps more seriously, have you noticed that you’ve changed your production approach or think about the processes of producing and rapping differently? Or have all these things just always been in your head?
I wouldn’t say I changed my approach. But I definitely know what I personally want out of the music. So making it my own project, rather than producing for others, I have complete creative control over my own vision rather than it being predicated towards someone else’s sound, or obviously, whatever they’re trying to get across. It’s kind of easier for me, because I don’t need anyone to talk to. I don’t need anyone, it’s just complete tunnel vision. So I kind of enjoy it more, in a way.
In an interview with The Nuance, you said that your production style really depends on what your other collaborator wants, or what you agree upon together. On DEADSTOCK, you apply that mentality to the different sides of yourself. Do you feel like you have a signature sound for yourself that you want to prioritize moving forward? Are you still excited about molding yourself to different approaches and genres and still having that versatility?
I don’t think I’ll ever have, quote-unquote, a particular sound because I just get bored too easily. So the next one won’t sound like the next one, or like the next one. But what I have learned through this process is just finding a particular tone of voice that I really like. And I think that was the hardest part about all of this and making this.
On a quick note, during that same interview, you also hinted at maybe completing your computer science degree one day. Is that still a goal for you? Are things too busy right now?
*laughs* Things are 100% too busy right now. But I be trying to knock out a class here or there when I can. Like, right now, I’m in two classes, but all online. So, on some summer-type s**t. But yeah, I definitely still want to do that. Whether it takes me ten years, five years, 15 years, it’s just something I really want. I still love computer science.
As I understand it, you’re now officially signed to TDE as a producer after having worked with so much of the team for so long. What do you hope to learn the most from this process? What excites you about being able to contribute to the label’s artistry and sonic directions?
Honestly, I just really want to learn the business side of music. That’s been my whole goal now and being signed is definitely easier. Just in the rooms you’re in and the comments you get to hear, so I just pick up on a lot of s**t just listening. So that’s a big plus. It’s just exciting every day, because these are the artists I grew up listening to and appreciating. So being able to be in the same room, there’s just so much to learn in that and so much excitement in that. So I think it’s really as simple as that. Just whatever I can do to help them push their vision, or whatever I get from it, it’s really just a plus.
You’ve spoken a lot about how your cousins in Fontana broke you into the music space and how you learned from them. What do you appreciate the most about being able to start your artistic process not just with fellow artists, but with these fellow artists that are your family?
Well, yeah, that was a plus. Number one, no one is looking at you like some type of dollar sign. It’s truly like a genuine connection with your family. So learning from them, I’m very grateful for that. In the sessions I got to be in, I literally got to see how how you record music. Like, in the most literal way, I got to see how you interact with different producers, how you interact with the artists, studio etiquette, all that type of stuff. So I owe it all to them for sure for that.
You sold your first beat to D. Savage when you were in high school. Looking back at that process of sending out beats and everything, what’s one thing about said process that you didn’t know back then, but that you learned further on that you would’ve wanted to keep in mind in those early days?
I would say that trying to link with an artist is a lot more important than just sending beats all day. Like, sending beats all day is going to get you the connect to get to them. But once you do that, you should really try to build an actual bond with them. Like, not on no weirdo time, but just a genuine connection with them and try to build some sort of work friendship.
Juxtaposition and not getting boxed in are some of the most important things to you in your artistry and on DEADSTOCK. For this album specifically, how did you balance that process of the different types of emotions you wanted to engage with and what sounds you wanted to play with? How did you stay tapped into all these different parts of yourself while still organizing them into an album that feels more cohesive and intent-driven?
When I was making it, I wanted to go half melodic and, like, half bangers. But I also wanted to sprinkle in, like… It’s different stuff that you can’t find anywhere else. I think it’s a couple of songs on there that you literally can’t find nowhere else but there. And that was really important to me when I was making it. ‘Cause it’s so easy to make, like, fun songs and stuff to get the people hyped, the crowds hype. But I also wanted to give something that was kind of more intriguing or something that people might not get or might hate. I find a lot of power in that.
I do want to ask about a couple of lyrics that I caught on my listens. On “GEEKERTOWN,” you rap: “We don’t relate to rappers, they need millions to have fun / We don’t relate to actors, can’t escape the roles they love.” Now that you’ve seen how the hip-hop and music industries move on a lot of different levels, what are some of the mistakes or misconceptions about artists and celebrities that you want to try to avoid that you see your peers fall into?
Well, for the first line, I was really referring to the real people I know that will fly a girl out to where they’re at, take her shopping, take her to a nice dinner, get her a purse, just to have sex. Like, $8,000 just to have some sex. To me, I never had to do none of that. I could take a girl to Wendy’s, we could go to the movies… $30 and something hot at the end of the night. *laughs* That’s what I meant by that. It’s just a lot of extra stuff just to, like… I don’t know. I don’t know, they just be weird sometimes.
Then the second line, that was just another play on f***ing Hollywood, bro. I was at this party. I’m not going to name the actor, but it’s a dude that’s from the suburbs and didn’t grow up being a tough guy or nothing. But at this party, he’s trying to get in fights and be the toughest guy in the scene when, really, nothing was happening. It was a role he played in a movie where he was a tough guy. So I was like, “I wonder if he just can’t escape that reality. That role or that movie.” That’s really what it was.
Did you approach tracks like “GEEKERTOWN” with a topical focus in mind? You mentioned that sometimes you will freestyle on your beats, and then that will get the creative ball rolling. But were there any ideas that you specifically wanted to make a statement on?
Man, I wish I could say it was more of a statement. But it was definitely just free-flow thought, and that’s just what I was on that day.
I wanted to briefly touch on BLUE LIPS a little bit, because I found some sonic similarity between DEADSTOCK and some of your raw and stark productions on that album. Did you feel a creative overlap between your work on these distinct projects? What was the most different aspect about your approach to them?
There may be creative overlap. There’s nothing that I noticed, but it’s probably subconsciously. Like, anytime I work on a project, I just try to do a better job and get better every time. So there’s definitely overlap, but it wasn’t like a purposeful overlap.
You’re a proud moshpit starter, as you mention in a couple of songs and on your social media. Can you remember your first moshpit and speak a little bit on why that specific aspect to live music captivates you so much?
Yeah, I think it was 2017 or ’16. I can’t remember. But it was a Travis Scott show at The Observatory in Santa Ana. And I think whenever they dropped Huncho Jack, forgot what year it was. But whenever, that was the first, like, “Damn, this moshpit is crazy.” I actually passed out during the show. *laughs* There’s still a picture of it somewhere. But yeah, I was like, “Damn, that is intensity.”
What kind of energy do you want to create with your live shows? Considering that you have so many different sides of yourself, do you hope to bring that energy to people?
Definitely with these songs, there’s going to be plenty of moshpit moments. But I’m definitely like, “Okay, we moshpitting now and now I want y’all to hear this rap. Now I want you to hear me try to sing on this stage, to tone it down.” Like, talk to the crowd, tell jokes, all that type of stuff. My shows are going to give the people, like, make them a part of the show, too. Instead of just watching me with the camera, like, really interact with them and get to know them.
What are you looking forward to concerning performances in the future?
I’m about to open up for Q on his run. So I’m going to have the opening set on there. That’s going to be my first real go-around. I think I’ve only done four shows.
Obviously, since we’re talking about live shows, I’d be remiss not to mention “The Pop Out.” It seemed like you had a great time and something that you said you’re still riding the high off of. As both an artistic collaborator with these people and somebody who’s been a longtime fan for so many years, what excited you the most about that chance to see all of them share the stage and celebrate each other and the West Coast?
Well, yeah, the energy was just next level. You really can’t even put words to it. It is definitely a full-circle moment in my life, almost validating towards what I’ve been working so hard to do since I’ve been 14, 15 years old. Yeah, it really just resonated with me. I’m just glad I didn’t stop making music or get discouraged or quit, none of that. Just continued following my path. And then to see them, those are just the homies. To see them do this at such a high level, it just also shows the levels you can still get to by just working on your craft. They show it’s possible. So seeing all of that, just left with endless inspiration.
What is the quality or the philosophy that you want to add to the West Coast canon and legacy? If at all; I don’t want to box you into this West Coast thing, either. But what thought have you given that?
Maybe just to hopefully show people that you can make different types of music. If you’re from the West Coast, there’s always going to be West Coast elements in your music, 100%. Even in some of my music, stuff that you probably can’t even hear. There’s definitely some West Coast flair in it. But I hope, at least, what I’m trying to show is that you can make different types of music and still be considered a West Coast artist without the typical West Coast sound. You’ll still get West Coast respect. That’s honestly what it shows me when you see people up there like Tyler and Steve Lacy. Those aren’t typical, like… You wouldn’t even know they’re from the West Coast, honestly. But they’re West Coast legends, if that make sense.
Yeah, there are some songs like “PDA” where you can hear that more explicitly with the percussion pattern and other breezy moments. “STRIPPERS,” “ANNOYING”… You don’t always need the Mustard beat.
Yeah, and I love all West Coast artists, too. I want that to be known, too. I love all the West Coast artists, too, for sure. I’m listening to that, and I’m sliding around and moving around. So I’m not trying to diss them, but I was just trying to say what I’m trying to do.
Another track with a little bit of that energy to it is “POPPIN OUT THE RANGE!” which is an absolute banger. You rap: “We was running from the cousins we was trying to be / Escape the pain, escape the rain, escape the leash.” Even though you’re always moving forward in your artistry and in your life, how has your artistic process helped you reflect on your past years? Has it taught you anything unexpected about yourself?
I’ll say that making music, as far as putting my vocals on wax, it’s definitely just helped me cope through different situations of life. Because I usually keep a lot of stuff boxed in, but it’s just freeing saying things. And I don’t like talking to people, like, telling them what I’m going through. So I’d just rather put it in a song. That is the therapy for me.
You talk a lot on DEADSTOCK about navigating the industry, fickle females, and folks with vices and problems that they can’t even really understand. But it still feels like you’re enjoying the process and this point of your career. As you say on “WASTE NO TIME,” you can’t waste time on anything. What’s been the hardest thing for you to kind of like navigate in the industry? How do you think that this new album has helped you do so?
The hardest part is just… I guess just the social aspect and having to deal with so many types of people and personalities. You’re almost living so many different lives, it kind of gets draining. That’s lowkey a thing, a big theme of it. But like you were saying, another big theme of it… You said it sounds bubbly and stuff, but I think I constantly did that because I’m just a guy that laughs through whatever. So kind of just laughing at your pain in a way. It could be a fun song, or it could be a lyric that will make you turn your head, but like, it’s a fun song. So I’m kind of just laughing at pain.
“BIG SHOT” was my personal favorite track off DEADSTOCK. The world you build on that song sounds cold, but it’s also kind of perseverant. You talk about settling scores, final destinies, and seeking that balance between the many different aspects of the album. Why do you think that song sounds so different to everything else on the album? Did you have a moment where you knew that it would be the closer?
Well, thank you for that, that’s one of my favorites, too. Actually, that was a song I was making for Rihanna. They didn’t want that s**t. So I had to finish it. Then, I added guitar and all of that on top of it. But yeah, it’s a special one. Like, it wasn’t like a moment where I’m like, “Damn, this is the closing to the album, this is my outro.” Because when I create, I make 25, 30 songs and I just pick from them. It was definitely one that just sticks out sonically, so I’m like, “I got to fit this on here somehow.” And in the sequence, I felt like the only place it was just perfect for was the outro. I don’t think you’ll forget an outro like that, so I just had to throw it as an outro.
How much do you revisit beats? Many say that writing is rewriting, writing is editing. Do you feel that with your productions as well?
Usually, if I make a song, I’ll know immediately when the day is over if I want to add something or if I want to go farther in it. I think that was one of the only… There might have been two other ones that I went back in on. I was just making the whole beat, sequence the whole beat first. Then, everything will be in order. But that one I just felt like there was something missing, so I threw the guitar on there.
Yesterday, you teased a mystery feature on DEADSTOCK via an Instagram Story [which we now know is ScHoolboy Q on “BANG YOUR HEAD”]. To manifest real quick, are there any other dream collaborations that you have in mind?
I think when it’s all said and done, I just must work with Tyler, The Creator and I must work with Kanye West. If those two things could happen, I guess I’ll have really done it all with this music s**t. Those two things can happen one day, so I’m crossing my fingers.
Fingers crossed. Devin, I just wanted to thank you so much again for your time and for this wonderful convo. Now that you’ve built up you know such an amazing run this year alone, building off of all your past success, what else is inspiring you right now other than yourself to keep doing what you love?
Honestly, now I just want to show the world my ideas visually. So I’m going to be 10 times more hands on in my visual representation. Hopefully, to be able to land something with like, a Blumhouse or a f***ing A24. Because I know that I got all the weird ideas.
What is something or someone you would call “day one” that you are grateful for being in your career up until know and that you think is going to stick with you in the future?
S**t, my brother. He helps me a lot with this music. I send everything to him, most ideas I have, I just run it by him. I’m grateful for that guy.
Is there anything else that you want to add anything else, a shout out, a message before we head on out?
Latto has swiftly risen to prominence in hip-hop. Her special mix of Southern rap with contemporary productions has set her apart in a competitive industry. It has pushed her to become one of hip-hop’s most exciting new voices. With a string of hits, Latto has proven that she is more than just a rising star—she’s a force to be reckoned with.
Since breaking into the mainstream, Latto has amassed numerous accolades and a loyal fanbase. Her music often celebrates empowerment and Southern pride, echoing with listeners. As we anticipate her future projects, it’s an ideal time to reflect on the essential songs that have defined her journey. These tracks highlight Latto’s lyrical talents and influential effect on hip-hop.
1. “B*tch From Da Souf” (2019)
“B*tch from da Souf” is the track that put Latto on the map. Released in 2019, this breakout single quickly became an anthem, showcasing her fierce personality and strong Southern roots. The song also earned Latto significant attention and helped her build a solid fanbase. “B*tch from da Souf” was a statement of intent, declaring her arrival in hip-hop with unapologetic confidence.
Additionally, the success of “B*tch from da Souf” was pivotal for Latto’s career. It also led to a remix featuring Saweetie and Trina, further amplifying its impact. The track’s reception highlighted Latto’s potential as a major player in the industry and set the stage for her subsequent releases. With its infectious energy and empowering message, “B*tch from da Souf” remains a defining track in Latto’s discography.
“Muwop,” featuring the iconic Gucci Mane, marked a milestone in Latto’s career. Released in 2020, this track cleverly samples Gucci Mane’s classic hit “Freaky Gurl.” It bridged the gap between the new generation and the old guard of Southern hip-hop. The collaboration with Gucci Mane brought credibility and showcased Latto’s ability to hold her own alongside one of the genre’s legends.
Unsurprisingly, “Muwop” became an instant hit, climbing the charts and confirming Latto’s place in mainstream hip-hop. The chemistry between Latto and Gucci Mane is palpable, with both artists delivering strong verses that play off each other’s energy. “Muwop” received praise for its confident lyrics and modern take on a classic sound. This track is pivotal in her discography, exemplifying her growth as an artist and her ability to create timeless music.
“Sex Lies,” featuring Lil Baby, is a song from Latto’s discography that delves into themes of relationships and trust. Released in 2020, this collaboration merges Latto’s fierce delivery with Lil Baby’s smooth flow, creating a dynamic and engaging song. The chemistry between the two artists is evident, making “Sex Lies” a compelling listen. The track’s production features a seductive beat that perfectly complements the lyrical content, exploring the complexities of romantic entanglements. Further, “Sex Lies” was well-received by fans and critics. The song’s success on the charts and its popularity among listeners further cemented Latto’s reputation as a versatile and talented artist in the hip-hop landscape.
4. “Queen Of Da Souf” (2020)
“Queen of Da Souf,” the title track from Latto’s debut studio album, is a powerful anthem. Released in 2020, the song encapsulates Latto’s pride in her roots and determination to claim her place in the rap hierarchy. With a hard-hitting beat and assertive lyrics, “Queen of Da Souf” showcases Latto’s lyrical prowess and unshakable confidence.
The track received critical acclaim for its boldness and authenticity. Fans appreciated Latto’s unapologetic embrace of her identity. “Queen of Da Souf” also highlights her skill as a femcee and serves as a declaration of her intent to dominate. The song’s success further established Latto as a significant figure in contemporary rap.
The “Big Energy (Remix)” featuring Mariah Carey and DJ Khaled was game-changing in Latto’s career. Released in 2022, this remix elevated the original track by adding Mariah Carey’s iconic vocals, blending Latto’s contemporary flair with Mariah’s legendary sound. The collaboration brought together different generations of music, showcasing Latto’s versatility and appeal across various audiences.
The remix was a commercial success, resonating with fans of both artists and climbing the charts. Mariah Carey’s contribution added a nostalgic touch, enhancing the song’s appeal and highlighting Latto’s ability to work alongside industry legends. The “Big Energy (Remix)” not only solidified Latto’s place in the music industry but also emphasized her growing influence and potential for future collaborations with top-tier artists.
Latto has swiftly risen to prominence in hip-hop. Her special mix of Southern rap with contemporary productions has set her apart in a competitive industry. It has pushed her to become one of hip-hop’s most exciting new voices. With a string of hits, Latto has proven that she is more than just a rising star—she’s a force to be reckoned with.
Since breaking into the mainstream, Latto has amassed numerous accolades and a loyal fanbase. Her music often celebrates empowerment and Southern pride, echoing with listeners. As we anticipate her future projects, it’s an ideal time to reflect on the essential songs that have defined her journey. These tracks highlight Latto’s lyrical talents and influential effect on hip-hop.
1. “B*tch From Da Souf” (2019)
“B*tch from da Souf” is the track that put Latto on the map. Released in 2019, this breakout single quickly became an anthem, showcasing her fierce personality and strong Southern roots. The song also earned Latto significant attention and helped her build a solid fanbase. “B*tch from da Souf” was a statement of intent, declaring her arrival in hip-hop with unapologetic confidence.
Additionally, the success of “B*tch from da Souf” was pivotal for Latto’s career. It also led to a remix featuring Saweetie and Trina, further amplifying its impact. The track’s reception highlighted Latto’s potential as a major player in the industry and set the stage for her subsequent releases. With its infectious energy and empowering message, “B*tch from da Souf” remains a defining track in Latto’s discography.
“Muwop,” featuring the iconic Gucci Mane, marked a milestone in Latto’s career. Released in 2020, this track cleverly samples Gucci Mane’s classic hit “Freaky Gurl.” It bridged the gap between the new generation and the old guard of Southern hip-hop. The collaboration with Gucci Mane brought credibility and showcased Latto’s ability to hold her own alongside one of the genre’s legends.
Unsurprisingly, “Muwop” became an instant hit, climbing the charts and confirming Latto’s place in mainstream hip-hop. The chemistry between Latto and Gucci Mane is palpable, with both artists delivering strong verses that play off each other’s energy. “Muwop” received praise for its confident lyrics and modern take on a classic sound. This track is pivotal in her discography, exemplifying her growth as an artist and her ability to create timeless music.
“Sex Lies,” featuring Lil Baby, is a song from Latto’s discography that delves into themes of relationships and trust. Released in 2020, this collaboration merges Latto’s fierce delivery with Lil Baby’s smooth flow, creating a dynamic and engaging song. The chemistry between the two artists is evident, making “Sex Lies” a compelling listen. The track’s production features a seductive beat that perfectly complements the lyrical content, exploring the complexities of romantic entanglements. Further, “Sex Lies” was well-received by fans and critics. The song’s success on the charts and its popularity among listeners further cemented Latto’s reputation as a versatile and talented artist in the hip-hop landscape.
4. “Queen Of Da Souf” (2020)
“Queen of Da Souf,” the title track from Latto’s debut studio album, is a powerful anthem. Released in 2020, the song encapsulates Latto’s pride in her roots and determination to claim her place in the rap hierarchy. With a hard-hitting beat and assertive lyrics, “Queen of Da Souf” showcases Latto’s lyrical prowess and unshakable confidence.
The track received critical acclaim for its boldness and authenticity. Fans appreciated Latto’s unapologetic embrace of her identity. “Queen of Da Souf” also highlights her skill as a femcee and serves as a declaration of her intent to dominate. The song’s success further established Latto as a significant figure in contemporary rap.
The “Big Energy (Remix)” featuring Mariah Carey and DJ Khaled was game-changing in Latto’s career. Released in 2022, this remix elevated the original track by adding Mariah Carey’s iconic vocals, blending Latto’s contemporary flair with Mariah’s legendary sound. The collaboration brought together different generations of music, showcasing Latto’s versatility and appeal across various audiences.
The remix was a commercial success, resonating with fans of both artists and climbing the charts. Mariah Carey’s contribution added a nostalgic touch, enhancing the song’s appeal and highlighting Latto’s ability to work alongside industry legends. The “Big Energy (Remix)” not only solidified Latto’s place in the music industry but also emphasized her growing influence and potential for future collaborations with top-tier artists.
Since his debut, Jeremih has been a defining voice in contemporary R&B. With a knack for blending sensuality with mainstream appeal, Jeremih has consistently delivered chart-topping hits that have resounded with a broad audience. His influence on the music industry is marked by a string of successful singles and collaborations that showcase his versatility and enduring appeal.
Over the years, Jeremih has garnered critical acclaim and commercial success. This has helped cement his position as a key figure in modern R&B. From his breakout hit “Birthday Sex” to his numerous high-profile collaborations, Jeremih’s discography is a testament to his adaptability. This exploration of his essential tracks highlights the songs that have defined his career, illustrating why he remains an influential artist in the music industry.
1. “Birthday Sex” (2009)
“Birthday Sex” is the track that catapulted Jeremih into the spotlight. Released in 2009, this debut single quickly became a hit, peaking at No. 4 on the Billboard Hot 100. The sultry lyrics and silky production made it a staple on radio stations and playlists. Further, the impact of “Birthday Sex” extended beyond its chart performance. It established Jeremih as a fresh voice in R&B, capable of delivering commercially viable and artistically distinctive hits. The song’s success also helped propel his self-titled debut album to significant acclaim. It marked the beginning of a string of successful releases. “Birthday Sex” remains a defining track in Jeremih’s discography, emblematic of his knack for creating memorable, seductive R&B.
Teaming up with 50 Cent, Jeremih released “Down on Me” in 2010. It was a track that firmed his position in mainstream music. Moreover, the song peaked at No. 4 on the Billboard Hot 100. “Down on Me” highlighted Jeremih’s ability to collaborate seamlessly with hip-hop artists. The collaboration with 50 Cent brought a new level of exposure and credibility to Jeremih’s career. The music video featured innovative visuals and a viral “hologram” performance, further boosting the song’s popularity. “Down on Me” remains a fan favorite.
Released in 2014, “Don’t Tell ‘Em” featuring YG became one of Jeremih’s biggest hits. The track’s infectious beat, produced by DJ Mustard, made it an instant club anthem. Peaking at No. 6 on the Billboard Hot 100, “Don’t Tell ‘Em” was bolstered by its clever interpolation of Snap!’s “Rhythm Is a Dancer.” It further added a nostalgic element to its modern production. “Don’t Tell ‘Em” also received critical acclaim for its production and Jeremih’s smooth vocal delivery. The collaboration with YG brought a hip-hop edge to the track, making it a standout in Jeremih’s catalog and a staple in his live performances.
“Planes,” featuring J. Cole, is a testament to Jeremih’s ability to blend sensuality with lyrical depth. Released in 2015, the track features lush production and introspective lyrics that explore themes of desire and escapism. The song went on to amass significant commercial success. It reached the Top 40 on the Billboard Hot 100 and earned a platinum certification. Moreover, “Planes” stands out for its sophisticated production and the chemistry between Jeremih and J. Cole. It emphasizes Jeremih’s talent for creating evocative R&B tracks that balance mainstream appeal with artistic integrity.
5. “Oui” (2015)
“Oui,” released in 2015, is one of Jeremih’s most romantic and well-received songs. The track’s melodic production creates a dreamy atmosphere, making it popular for weddings and special occasions. “Oui” also showcases Jeremih’s ability to craft tender, emotionally resonant songs that connect with listeners on a personal level. Further, the song performed well on the charts, peaking at No. 19 on the Billboard Hot 100. Its success further solidified Jeremih’s reputation as a versatile artist capable of delivering both club anthems and love ballads.
Donald Glover, a.k.a. Childish Gambino, unveiled the first trailer for his highly anticipated new movie, Bando Stone & The New World Order. Debuting ahead of A Quiet Place: Day One screening on June 27th, Glover announced its premiere hours before on Instagram. Still, there’s very little known about the upcoming project, which will include an accompanying soundtrack under his moniker Childish Gambino. Let’s explore what we know about Bando Stone & The New World.
The two-minute trailer premiered exclusively in IMAX theaters on Thursday night after Donald Glover, in his Instagram post earlier that day, teased the trailer drop. The brief clip shows Glover’s character, Bando Stone, joining forces with other survivors in a perilous journey through a world filled with giant, blood-thirsty creatures and electromagnetic traps. The trailer, not yet officially released online, has snippets captured by fans circulating on social media, adding to the anticipation.
However, the trailer’s debut didn’t mean that Donald Glover and his team chose to share it online. So far, only the few fans who watched the movie in theaters caught a glimpse of the preview. Nonetheless, fan-captured footage surfaced online this morning, per HipHopDX, which you could view above.
Cast & Production
LOS ANGELES, CALIFORNIA – JANUARY 21: Actress Jessica Allain attends the world premiere of “Fear” at Directors Guild Of America on January 21, 2023 in Los Angeles, California. (Photo by Paul Archuleta/Getty Images)
Bando Stone & The New World is produced by RCA Records and Gilga, Glover’s creative hub. The film stars Jessica Allain, known for her roles in horror thrillers like Texas Chainsaw Massacre and Fear. The movie, exclusive to IMAX theaters, marks a significant collaboration between Glover and his production partners. The storyline focuses on Bando Stone, a musician trying to survive in a world overrun by extraterrestrial threats, whose sole skill is singing. The blend of horror, comedy, and science fiction signals that this movie will certainly be worth a watch.
Soundtrack & Album Release
Accompanying the film is a soundtrack album from Childish Gambino, expected to be his final full-length release under this moniker. While the release date of the movie remains unannounced, Glover has confirmed that the album will drop this summer. The lead single, “Lithonia,” is set to release on July 2. Glover expressed frustration over the single leaking early. He blamed the streaming service Audiomack and vowing to withhold the album from them. Despite this hiccup, the anticipation for the single and the album remains high among fans.
Bando Stone & The New World will be Glover’s second album release in 2024, following Atavista, an updated version of his 2020 LP 3.15.20. Glover’s return to music is complemented by a massive world tour kicking off in August 2024. The tour will cover North America, Europe, and Oceania, and he will be joined by genre-bending artists Willow Smith and Amaarae. This tour marks a significant event in Glover’s music career, promising a blend of new and nostalgic performances.
The Rollout & Fan Engagement
Glover has taken a unique approach to the rollout of Bando Stone & The New World, using cryptic messages and Easter eggs through his Gilga Radio show and social media. This campaign has created a sense of mystery and excitement among fans. Glover’s Instagram Live sessions have provided sporadic insights, including his feelings about the state of the music industry and the joy he finds in simple activities like feeding cows on his California farm. His engagement with fans through these unconventional methods has built a narrative that extends beyond the music and film, making this project a multifaceted experience.
Blending R&B with trap elements, Bryson Tiller has created a distinctive sound known as “trap soul.” He has captivated audiences with smooth vocals, introspective lyrics, and atmospheric beats. His music, which delves into themes of love, heartbreak, and personal growth, resounds deeply with listeners. With multiple platinum certifications and critical acclaim, Tiller stands out as a powerful force in contemporary R&B.
Moreover, Tiller’s influence extends beyond his tracks, shaping the genre and inspiring a new generation of artists. As fans eagerly await his upcoming releases, it’s an ideal time to revisit the essential songs defining his career. These tracks highlight his lyrical and vocal prowess and his talent for crafting deeply emotional and relatable music. Let’s explore five of Bryson Tiller’s most impactful songs that have left a lasting mark on the R&B landscape.
1. “Don’t” (2014)
“Don’t” is the track that put Bryson Tiller on the map. Released in 2014, this breakout single became an instant sensation, showcasing his unique blend of R&B and trap elements. The song’s slick production and Tiller’s heartfelt lyrics about relationship struggles echoed with a wide audience. “Don’t” quickly climbed the charts, peaking at No. 13 on the Billboard Hot 100 and earning platinum certification.
The success of “Don’t” was pivotal in Tiller’s career, leading to the release of his debut album T R A P S O U L. The track’s minimalistic beat, paired with Tiller’s emotive delivery, highlighted his ability to convey deep emotions through his music. “Don’t” remains a fan favorite and a cornerstone of his discography, encapsulating the essence of his sound and the beginning of his rise to stardom.
2. “Exchange” (2015)
“Exchange” is one of Bryson Tiller’s most celebrated tracks. It further solidified his place in the R&B landscape. Released in 2015 as part of his debut album T R A P S O U L, the song explores themes of love and regret. Tiller’s soulful voice perfectly captures the emotional depth of the lyrics. The melodic production and a memorable sample from K.P. & Envyi’s “Swing My Way” create an intimate and nostalgic feel.
The track was a commercial success. It peaked at No. 26 on the Billboard Hot 100 and earned Tiller a Grammy nomination for Best R&B Song. “Exchange” showcases Tiller’s knack for heartfelt storytelling and makes it a standout in his catalog. The song’s introspective nature and relatable themes have made it a fan favorite, highlighting Tiller’s ability to connect with listeners on a personal level.
3. “Sorry Not Sorry” (2015)
“Sorry Not Sorry” is one of Bryson Tiller’s most assertive tracks, showcasing his confident and unapologetic side. Released in 2015 on T R A P S O U L, the song features a harder, more aggressive beat compared to his other work. It blends trap elements with his signature R&B style. Tiller’s lyrics express a bold declaration of self-worth, resonating with listeners who appreciate his straightforward and candid approach. Moreover, the song was well-received commercially and critically. “Sorry Not Sorry” charted on the Billboard Hot 100 and quickly became a fan favorite, known for its energetic vibe and memorable lines. This track exemplifies Tiller’s ability to switch between smooth, introspective ballads and more upbeat, assertive anthems.
4. “Run Me Dry” (2017)
“Run Me Dry” brings a Caribbean flair to Bryson Tiller’s signature sound. It adds a new dimension to his musical repertoire. Released in 2017 as part of his second studio album True to Self, the track explores the complexities of a turbulent relationship. The song’s rhythmic beat and infectious melody make it a standout track that showcases his versatility. Additionally, the song’s popularity was evident as it climbed the charts and became a favorite among fans. “Run Me Dry” highlights Tiller’s ability to blend different musical influences while maintaining his distinct style. The track’s catchy hook and relatable lyrics about love and betrayal resonated with many, further establishing Tiller’s reputation as a skilled storyteller and a dynamic artist in the R&B genre.
5. “Inhale” (2020)
“Inhale” showcases Bryson Tiller’s ability to create a moody, introspective atmosphere with his music. Released in 2020, the track samples SWV’s “All Night Long” and Mary J. Blige’s “Not Gon’ Cry,” blending nostalgic elements with Tiller’s modern trap soul sound. The song delves into themes of longing and desire, with Tiller’s smooth, emotive vocals perfectly capturing the essence of the lyrics.
The track received praise for its unique production and how it seamlessly melds classic R&B influences with contemporary vibes. “Inhale” stands out in Tiller’s discography for its introspective nature and the deep emotional connection it fosters with listeners. This song underscores Tiller’s talent for crafting innovative and deeply personal music, making it a significant addition to his body of work.
Overall, some of the best rap songs of 2024 have come from the genre’s biggest artists. In fact, a lot of the best music from this year has been the result of beef. From Kendrick Lamar to Drake, we have seen some pretty epic back-and-forths. Furthermore, women rappers have also provided us with sounds that will fill our ears this summer. In fact, it feels like GloRilla, Megan Thee Stallion, and Latto are giving us hits on a weekly basis. At the same time, fan-favorites like ScHoolboy Q and Smino have helped make this year truly special. So without further ado, here are 30 of the best rap songs of 2024…so far.
30. Drake – Push Ups
29. Denzel Curry – Hot One f.t TiaCorine & FERG
28. Maxo Kream – No Then You A Hoe
27. Common & Pete Rock – Wise Up
26. Smino – mister misfit but ain’t missed a fit in months
