Tha Dogg Pound are back and better than ever. The West Coast powerhouse has been promoting the hell out of their upcoming album on podcasts. Kurupt and Daz Dillinger have mended fences after years of dissent, and everything we’ve heard so far suggests that they put their best foot forward when it came to making W.A.W.G. (We All We Got). Even the title advertises the newfound sense of unity the group feels. Now that Dogg Pound has dropped the tracklist, though, we can confidently say they have a lot.
Snoop Dogg is technically not a member of Dogg Pound. The group always comprised of Kurupt and Daz, with Snoop being part of the larger D.P.G.C. (Dogg Pound Gangsta Clicc). That being said, he’s a major part of this album. Tha Doggfather is featured on eight of the album’s fourteen tracks, which is more than enough to qualify him as the honorary “third” member. It doesn’t hurt that Snoop is now the owner of Death Row Records, which W.A.W.G. is being released through.
Fans of the Death Row heyday will be thrilled to know that other OGs are in the mix. Lady of Rage and RBX will contribute verses to the last song, which is fitting given their essential contributions to the Dr. Dre album that started it all, The Chronic. There will also be multiple features from Butch Cassidy, who wasn’t present for Death Row but has worked with all of its affiliates over the years. Cassidy is a Long Beach native, just like Snoop and Daz. The more intriguing collaborators come from the production.
Mike & Keys handled the lion’s share of the album’s songs, which makes sense given their LA sound. It’s cool to see a producer as capable as Daz, who produced most of the first two Dogg Pound albums, hand over the reigns to younger artists to see what they can provide. It will ensure that W.E.W.G. doesn’t sound like a retread. Hyphy legend Rick Rock will work his magic on two songs, one of which features Will.i.am. The most exciting producer choice, though, is Dogg Pound linking up with DJ Premier for the outro, titled “Who Da Hardest.” That one is going to hit hard.
Sango has different sides to his artistry. There’s the Da Rocinha series, which is largely tropical (and instrumental), there’s the tapes where he produces for another artist, and then there’s the North series, where he combines both into a singular statement. North Vol. 1 blended Sango’s instrumental prowess with a talented roster of rappers and singers. North Vol. 2 follows suit, while adding some sonic twists. These twists keep the album sounding fresh, albeit wholly familiar.
Sango’s usual roster of collaborators is here, and they deliver. Xavier Omar sounds great over the bouncy and surprisingly gritty instrumental for “The Lake.” The same goes for Smino, who manages to stay atop the busy samba shuffle of “Ice Storm.” The chemistry is predictably excellent on these songs, but it’s the new collabs that make North Vol. 2 stand out, for better or worse.
A Sango and Channel Tres collab could have gone lots of different ways, but the mood they settle on; jazzy and wistful, with Channel Tres’ usual spoken word, makes “Spaceship” one of the best songs on the album. Also worth checking out is Sango and GoldLink’s “Peace,” which strikes a perfect balance between the former’s solo work and GoldLink’s weirder impulses. The song would slot in perfectly on Link’s 2019 album, Diaspora.
Unfortunately, not every collaboration goes over perfectly. “Masego’s Interlude” never really gets off the ground, despite the nice harmony vocals from the titular singer. “Lost Intro (Sango’s Version)” is another missed opportunity. Sango tries to hard to fit Bryson Tiller’s signature sound, and the result is a generic Tiller song rather than something new. North Vol. 2 isn’t perfect, but there are more than enough high points to warrant a listen.
What are your thoughts on this brand-new album North Vol. 2 by Sango? Is it an improvement over the first installment? What is the best song? Is there a feature artist who steals the show? We would like to hear what you have to say, so be sure to leave your takes in the comments section. Additionally, always keep it locked in with HNHH for all of the latest news surrounding Sango. Finally, stay with us for everything else going on around the music world.
Be Patient Grow Daily
Mine & Yours (featuring Earlly Mac)
Prada Bags / Sour Suite (featuring IAMNOBODI & Pher)
Masego’s Interlude (featuring Masego)
Diamond Street
Lost Intro (Sango’s Version) [featuring Bryson Tiller]
Amid the slew of clever, seamless, and versatile pop culture references on Rapsody’s new album Please Don’t Cry, one name gets a lot of particular love: Lauryn Hill. The buckets of ink spilled on the Fugees member’s ambivalence to the spotlight become moot when compared to the musings of a fellow femcee. Rather than equate this absence to some sort of contrived deficiency, the North Carolina native chose to question what are the forces that drive artists to that space in the first place. Her answer affirms that she will not choose that path, but find another one that can provide similar catharsis, self-love, and clarity in the hurricane of fame and acclaim.
Furthermore, the five-year studio album wait for Please Don’t Cry definitely feels justified due in large part to the personal weight and scope of its themes. Sonically and lyrically, Rapsody is as soulful, sharp, and wise as she’s ever been, bolstered by a more tranquil albeit unshifting sonic pallet. But the difference is that the approach to themes including identity, grief, Black plight, sexuality, familial bonds, romance, mental health, and many more is much more blunt, personal, and direct than the grander concepts and stories behind LPs like Laila’s Wisdom. While not every piece connects across this sprawling and dense project, its greatest achievement is not only the consistency of its quality, but also the compassion with which she translates her lived experience of growth into an equivalent body of work.
Please Don’t Cry best characterizes this therapeutic approach through the calm cohesion of its production, which was mostly masterminded by BLK ODYSSEY, Major Seven, S1, Eric G, Hit-Boy, and more. The bread and butter is simple: warm bass, crisp percussion, heavenly background vocals, and light chords are all over this album. Not only does this create a lot of space, but it also highlights more subtle instrumentation in ways that more complicated beats would overshadow. Key examples are the fluttering guitar on “Look What You’ve Done,” the gentle woodwinds on “That One Time,” the watery synths on the cheeky self-love anthem “Lonely Woman,” and the wandering keys on the titular interlude. However, some deviations don’t hit as hard, such as the trite trap drum sequencing on “Black Popstar” with DIXSON or the boisterous “Back In My Bag.”
That’s not to say that this tracklist doesn’t switch up in compelling ways, though, as the reggae chiller “Never Enough” with Keznamdi and Nicole Bus proves. The important part is the stasis that Please Don’t Cry maintains when it returns to its boom-bap roots, and that ties Rapsody’s themes together with ease and gives them the atmosphere to really breathe and develop in. Any addition to that pallet feels earned and welcome, like Erykah Badu’s ethereal chorus on “3:AM,” a charismatic (yet terribly mixed) Lil Wayne verse on “Raw” with Niko Brim, and a killer g-funk Monica flip from Bee-B on “DND (It’s Not Personal).” Every piece lends a purpose to the overall thesis of self-betterment and self-consciousness, themes heavy enough to warrant calmer production curation. Of course, classically meditative sample worship on cuts like “God’s Light” and “Stand Tall” keeps the old-school hip-hop heads happy.
If there’s any one thing that any rap listener should hone in on when it comes to Please Don’t Cry, it’s unmistakably Rapsody’s pen. Whereas the production keeps things level, she begins the album with songs like “Marlanna” and “Asteroids” that set up her identity, her perception of self, and the totality of her aspirations, fears, skills, and passions. Little by little, the album opens itself up with more specific details, like a rumination on police brutality on “He Shot Me” or a reckoning with a family member’s dementia (and also Alzheimer’s later on in the tracklist) on “Loose Rocks” with wonderful contributions from Alex Isley. While the lyricism is very impressive throughout (such as the standout “Clinging to society who always label me, but can’t define me quite entirely“), its graceful honesty and humility stands out here, not over-acrobatic wordplay or rhyme schemes.
Still, Please Don’t Cry sometimes spins its own wheels in place thematically or takes too jarring and sharp of a turn off-road. One example of the latter is the dramatic “Diary Of A Mad B***h” with Bibi Bourelly, though there’s also plenty of topical focus on other tracks to warrant these swerves from one theme to the next. There’s Baby Tate’s dreamy verse on “A Ballad For Homegirls,” which is all about cutting an unfaithful and toxic relationship out of your life, plus a Mantragold-assisted ode to… well, “Faith.” Family, God, self-worth, knowledge, and connection are the emotional pillars on this record, and Rapsody expertly links them across her life both in their totality and in their specificity. It’s also worth mentioning how much she praises many of her female industry peers, and rallies against double standards separating them.
Maybe that conflict is one of the things that Lauryn Hill wanted to avoid, something that neither we nor Rapsody may never find the answer to. But at least we know that the 41-year-old is finding her answers with her head held high, a note that Please Don’t Cry beautifully summarizes. The album opened with “She’s Expecting You” with actress Phylicia Rashad, who presumably plays a hair stylist or, perhaps in practice, informal therapist of Marlanna Evans’. The closing track “Forget Me Not” with Amber Navran sees her return to Rashad despite her previous state of distress, confusion, and guilt. It’s a testament to perseverance, facing challenges head-on, and knowing oneself before pretending to know anything about the people around them.
There are plenty of obstacles in Rapsody’s way that only time could move away, such as illness, grief, fame, or systemic discrimination. But that doesn’t mean that she can’t act on those problems from a personal standpoint, or that she can’t put in the work to be at peace with the constant fight for brighter days the next morning. Please Don’t Cry is a very healing-centric and tender album in that sense, giving listeners the assurance that Rapsody sought in herself. It’s definitely not for the impatient, and some bloat can be cut out here and there, but it’s the earnest result of a lot of reflection and consideration on the connective tissue across her life. As Rapsody found, and as you might find too, illusions of self-loathing can eventually lead out of that darkness to our deepest truths.
Overnight, Vince Staples dropped his new album Dark Times. The project arrived just a few days after its original announcement and with only one single, the track “Shame On The Devil.” The album occasionally lives up to its name with the type of brutal self-reflection and serious lyrical subject matter that has defined much of Vince’s music throughout his career. The 13-track record runs just over 35 minutes, in line with the shorter projects he’s made a habit of releasing ever since 2018’s Big Fish Theory. Though the album has been out for less than 24 hours, it’s already landing incredibly positive reception from fans.
Social media is buzzing with fans reacting to Staples’ new album and much of the discussion is incredibly positive. One song in particular seems to be attracting a ton of early interest as the best of the bunch. “Etouffee” pops up around the mid-point of the record and seems to be a fan-favorite right out of the gate. It’s too early to see Spotify streaming numbers but multiple viral posts have already highlighted the song for its flows and storytelling. The entire album is receiving early praise from fans sharing their first reactions. Check out some of that praise below.
Dark Times isn’t the only new project Vince has dropped this year. A few months ago he dove headfirst into the world of TV with The Vince Staples Show on Netflix. The semi-autobiographical show mixed together drama and comedy in a similar way to Vince’s music and was massively praised by critics. The show hasn’t been officially confirmed for a second season yet despite calls from fans for more.
What do you think of Vince Staples final album for Def Jam Dark Times? Are you looking forward to seeing what new directions his career moves in now that he’s moving on from the label? Let us know in the comment section below.
If there’s a major story going on in rap music, there’s a good chance Vince Staples has some thoughts about it. The rapper manages to be pretty outspoken despite also being one of the less public figures in the genre. That’s why it’s no suspires that as soon as someone had the chance to ask him about Drake and Kendrick Lamar’s beef, they took it. It’s no surprise that his answer made waves as he seemed surprisingly unconcerned with the high-profile back and forth. “While Taylor Swift is fighting for people to be able to have streaming money, n*ggas on the internet arguing with each other about some rap sh*t. So that’s how I feel about it,” he originally replied.
Now in a new interview he’s explaining why he said that. “It was a live-streamed event, so someone had to be filming the live-streamed event on their computer. And then pages that are dedicated to the city and to people, cut out every question that these children asked about trying to stay alive in this environment that’s had over a hundred shootings in the first four months,” he begins. “So if I say plainly, no one cares about anybody else, then I look crazy. But I’m speaking to children. So my thing is am I supposed to look at a child who just asks those questions and say, ‘Yeah, I want one of these n*ggas to kill each other lyrically’? What the f*ck are we talking about?” Staples concludes. Check out his full interview below.
Vince was being interviewed because he just released his new album Dark Times. The project represents his final release for Def Jam, which he’s been signed to for over a decade. The album was announced just a few days ago with the song “Shame On The Devil” preceding the release of the full album.
What do you think of Vince Staples clarifying his comments on Kendrick Lamar and Drake’s beef? Do you agree with him that he wasn’t in the right environment to give an honest answer when originally asked? Let us know in the comment section below.
Vince Staples doesn’t leave things to chance. He’s a big picture emcee, and as such, every one of his albums have had a unique conceptual or musical framework. Summertime ’06 was a bleak nostalgia trip, while Big Fish Theory was an attempt to predict hip-hop’s sonic future. Staples strips away the window dressing on his latest release, however. The aptly-titled Dark Times is his most stripped-down release yet, and still, the rapper manages to squeeze thematic resonance out of each single track. It’s not an easy listen, but it’s undeniably powerful one.
The sobering, soulful framework of Dark Times is immediately established with the song “Black&Blue.” The grimness of the lyrics fuse with a gorgeous Sacred Souls sample to create something akin to a West Coast riff on Wu-Tang. Think “Tearz” with more bounce. Vince Staples sounds weary as ever on cuts like “Government Cheese” and “Shame on the Devil.” The latter is especially wistful thanks to the uncredited backing vocals. The rapper’s previous album, Ramona Park Broke My Heart, was a similarly moody affair, but it had G-funk flourishes to keep the listener bobbing their head. There’s no such entry point on Dark Times.
Staples wants all ears to be on his songwriting. “Justin” is a showcase for the rapper’s storytelling skills, while “Nothing Matters” pushes the bleakness to previously untapped levels. Dark Times is going to put off casual Staples fans (ones who are expecting something closer to his Netflix show), but it never veers too far in terms of self-indulgence. It’s well thought out and economical.
There are even a couple hidden grooves like “Radio” and “Little Homies.” The former sounds like it was pulled right out of Staples’ self-titled album from 2021. Vince Staples is probably the closest in spirit to Dark Times: both will require patience to fully appreciate.
What are your thoughts on this brand-new album Dark Times by Vince Staples? Does it live up to the rest of the rapper’s catalog? Is it his best album yet? Which song is your favorite? We would like to hear what you have to say, so be sure to leave your takes in the comments section. Additionally, always keep it locked in with HNHH for all of the latest news surrounding Vince Staples. Finally, stay with us for everything else going on around the music world.
It’s been less than two years since JID released his last album The Forever Story in 2022. The album sports a feature-packed tracklist including appearances from Lil Wayne, Yasiin Bey, Ari Lennox, Lil Durk, 21 Savage, Baby Tate, Earthgang, and Kenny Mason. The record was a massive critical success and it spawned the viral TikTok hit “Surround Sound.” The song surpassed 500k streams on Spotify alone following the challenge that saw people filming things from the perspective of their ceiling. The record had fans incredibly hyped for a follow-up, which JID just shared a new update on.
The post features pictures of the rapper in a boxing ring, performing in a stadium and what looks like on a plane. The pics are from a recent trip as he explains in the comments. “finally back from Saudi Arabia and I’m just here to say it’s so much behind the scenes/ in front of the scene work that goes in to each step of this sh*t and I am Truly Humble under God(Free thug)” his post begins. He goes on to share a quick update on the status of his new music. “for the people that help contribute to executing this amazing event. A nigga was 100 feet in the Air rapping bout some nigga Shit. Hip Hop is alive and well( album after tour)” his message concludes. Check out the entire post below.
What do you think of JID confirming that he’s working on a new album and that it’ll drop when he’s done touring? Are you looking forward to hearing the follow-up to his massively acclaimed The Forever Story? Let us know in the comment section below.
Mach-Hommy was riding high off the release of his new album, RICHAXXHAITIAN. It’s the biggest release of his career thus far, and has been met with universal praise from critics and fans. It looked destined to be the rapper’s best-selling release, but something went wrong. Mach-Hommy issued a public service announcement to his fans on May 23rd, claiming that Spotify dropped the ball with the rollout. Not only is the album no longer available on the platform, but Mach-Hommy is not seeing any payment from the days it actually was.
The former Griselda rapper posted his 15-minute PSA to X (formerly Twitter). He held up a newspaper with the date, then proceeded to break down Spotify’s failings. “This past Monday, I woke up to several messages informing me that my album was compromised,” he explained. “I get with my team, we start looking at stuff, then sh*t look weird. We realize, oh sh*t, there’s no album. The album is gone. It’s gone off Spotify, which is kind of wild.” Mach-Hommy reached out to Spotify to figure out what went wrong, but more questions arose. “They say they thought it was me who took it down,” he explained.
rapper Mach-Hommy drops a 15 minute PSA video for his fans after his new album #RICHAXXHAITIAN got deleted from Spotify, and he had difficulties with Youtube
The rapper asserted that he did not take RICHAXXHAITIAN down. More importantly, though, he asked why he wasn’t contacted by Spotify about the missing album. “Well, regardless of whether or not you thought it was me or not,” he recalled asking. “Why were we not notified, or at least someone from my team? This is a new release. I just dropped this.” Mach-Hommy then revealed that he ran into a similar issue on YouTube, where he was unable to change his profile or upload new videos. “They tell you they don’t know what’s going on,” he noted. “They’ve investigated it for ten plus days. The ticket has been escalated all over the departments.”
Mach-Hommy has yet to determine the cause of both situations. He did, however, shower his fans with praise. Despite the Spotify and YouTube complications, RICHAXXHAITIAN went number one on iTunes hip-hop charts. “If that ain’t love, I don’t know what is,” he asserted. “I really appreciate that sh*t… For me, I was informed by that move y’all made. I was inspired by that.”
The rapper encouraged fans to continue streaming his new album on Apple Music, and other streaming platforms until the Spotify situation gets worked out. “Y’all should go to Apple and download so it ain’t got nothing to do with nobody manipulating nothing.”
Mere weeks after Mach-Hommy released Pray For Haiti in 2021, the nation’s 43rd president was assassinated, injecting a dire and gut-wrenching sense of realism into anyone who didn’t take its title seriously. The Haitian-American rapper has always made it clear that his music is about much more than a polyglot pen, intricate rhyme schemes, wordplay that can be as narrative and culturally rooted as it is clever, and lest we forget his mystical beat selection. Now that his home country is further politically destabilized, rampant with gang activity, and still in a languid humanitarian crisis, this mission to give back, educate, and inspire seems as heartening and futile as it’s ever been.
However, Mach-Hommy refuses to make any effort go to waste, and out of the dark and saddening shroud of Haiti’s 2024 so far, he made one of his brightest and most immediate albums up to this point. #RICHAXXHAITIAN concludes a tetralogy that began with 2016’s HBO (Haitian Body Odor) and continued with Pray For Haiti and that year’s subsequent Balens Cho (Hot Candles), which seems overtly dedicated to Mach’s Caribbean home (and, in Pray For Haiti‘s case as one of his first streamable efforts, contributes monetarily to his fund for educational advancement and infrastructure in Haitian communities). Whereas all these projects wear this influence on their sleeve, this new album builds off of the struggle and perseverance of previous installments to craft a triumphant and awe-inspiring experience.
#RICHAXXHAITIAN offers a comparatively more colorful, vivid, and accessible sonic pallet than albums like Balens Cho. Warm sample flips and fuzzy production contrast icy drum timbres and melancholy melodies all over this album, such as the regal horns on “POLITickle” with Drea D’Nur and a languid guitar loop on “GORGON ZOE LAN.” Across the board, the beats here feel fuller and more lush, but elements like the stark percussion on “THE SERPENT AND THE RAINBOW” bring them back down to Earth when they soar too close to the sun. Of these high-flying moments, there are touching glimpses of longing desperation, such as the woodwinds on “LON LON” with Archie Whitewater, paired with more expected Mach-Hommy fare like the hunched-over creaks on “GUGGENHEIM JUNE” or the Wild West atmosphere on “ANTONOMASIA” with Roc Marciano.
Speaking of stellar features, the Newark and Port-au-Prince MC enlists familiar faces like Tha God Fahim on “PADON,” Your Old Droog on “EMPTY SPACES,” and Big Cheeko on “SAME 24” with Norman Connors to provide some cutting verses. In addition to Mach-Hommy himself, August Fanon, Elijah Hooks, Conductor Williams, Quelle Chris, Fortes, Messiah Musik, and a heavy Sadhu Gold presence flesh things out behind the board. #RICHAXXHAITIAN results in a cohesive and well-flowing journey for your ears, revamping and reinvigorating the East Coast griminess that outfits like Griselda have popularized and, for some, oversaturated. Here, though, the wondrous and explorative nature of the instrumentals points to a new way forward, and Mach is always up front and center to lead the pack.
Mach-Hommy Is One Of Hip-Hop’s Most Razor-Sharp Pens
We won’t spoil the extent of this lyrical mastery here. After all, he is a hunter, and wants us to also enjoy the prowl more than the end result. Mach-Hommy flips everything to perfection, whether it’s a sly Star Wars bar, a reflection on the work of Howard Thurman, the trials and tribulations of Foxy Brown, or white phosphorus in Gaza. There are deep-rooted references here to extinct Haitian birds, New York drill rappers, representations of Haiti in film, cultural appropriation and exploitation, and the contrast between riches and rewards. “F**k a Forbes list,” the Dump Gawd spits at one point, eschewing the status that his wealth brings in favor of focusing on improving his family’s situation. The “XEROX CLAT” interlude with Haitian Jack blasts “avaricious hyper-capitalistic aims” and the next track proclaims its creator as the richest-ever Haitian.
This duality defines much of #RICHAXXHAITIAN and sets it apart the most from predecessors like Pray For Haiti. Yet Mach-Hommy is able to divide his attention and conquer his subject matter with ease, with a cut alongside an excellent Black Thought feature focusing on snitches, farcity, and a lack of principle in the hip-hop game, for example. Interludes like “AUX BON PARFUMS” highlight Haiti’s plight, and some cuts like “(…)” and “SUR LE PONT d’AVIGNON (Reparation #1)” use French and Krèyol to make the album’s cultural identity unmistakable. Throughout, Mach employs absolutely absurd rhyme schemes (see “SONJE” for a quick mind-blow) and the year’s best quotables so far, such as particularly hard bars about vegan thoughts, fetuses on trays, Tyshawn Jones, parking fees, and forty pieces of silver.
Towards the end of “COPY COLD,” you can hear a Sky News report on the current state of Haiti before the KAYTRANDA-produced title track with 03 Greedo gets you up and dancing with irresistible rhythms and double-time flows. “HOLY ____” infuses gospel into #RICHAXXHAITIAN‘s toolbox to close the album out on a hopeful, calm, healing, and almost victorious note. These moments really stress the accomplishments behind the project, as Mach-Hommy basks in his success, skill, and acclaim while still giving back to the circumstances that produced it. Despite the mystery behind this career and its pricey release methods, no other 2024 album places as much emphasis on the music speaking for itself. It’s a treasure trove of references, history, and lessons to discover, and is easily the most rewarding LP to hit the game in a long time, let alone this year.
However, through sharper hooks, enjoyably immersive production, top-tier spitting, and a consistently confident demeanor, Mach-Hommy made #RICHAXXHAITIAN every bit as simply impactful as it is often overwhelming. The fight for Haiti’s soul is much bigger than any one hip-hop album, and the difficult nature of soldiering for it has failed to slow him down one bit. This tetralogy tied up with a gorgeous bow, and one that pushes the influence and value of Haitian culture across the world with all the joy and amazement that the hardship of previous projects earned. Mach is a literary artist who refuses to compromise his worth for comfort, and one that’s clearly still on the hunt for evolution and fulfillment in every sense of his artistry.
It’s been a while since Isaiah Rashad fans have heard a new full-length project from the Chattanooga-born performer. His last album, The House Is Burning, arrived nearly four years ago in 2021. Since then, he’s been on a bit of a break from releasing solo music, though he has appeared on various other artists’ projects in recent months.
Fortunately for fans, however, it looks like he has a new project on the way. During a recent show, he announced that he’s got something in the works. According to him, it will “most likely” drop later this year, though he didn’t confirm an official release date. He said that the title is still up in the air too, but either way, fans can’t wait.
This isn’t the first time fans have heard mumblings of a new Isaiah Rashad album dropping this year, however. Back in February, a list of Top Dawg Entertainment artists planning to release projects in 2024 surfaced online, and Rashad was on the list. Both ScHoolboy Q and SiR were also listed, and have already dropped this year. Only time will tell who could be next, though if the list proves to be correct, it’ll be a major year for the label regardless.
Rashad’s exciting announcement isn’t the only thing to get a crowd hyped at one of his recent shows, however. Earlier today, a clip of him closing out a performance by playing Kendrick Lamar’s iconic Drake diss “Not Like Us” also surfaced online. As expected, his audience went wild, dancing and rhyming along to the track. What do you think of Isaiah Rashad announcing that he has a new project in the works dropping later this year during one of his recent shows? Are you looking forward to finally hearing it? Share your thoughts in the comments section down below, and keep an eye on HNHH for more updates.
(@J_Onaka) 
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