Tha God Fahim, one of Georgia’s most effortless lyricists, and Montreal’s underground producing titan, Nicholas Craven, are back it. These two have been underappreciated since they got into the game, and they are showing everyone why they need more praise. These cross-country buddies have been extremely prolific for years, and 2024 has been no different. They are continuing to do most of their damage on Bandcamp and YouTube, dropping off four projects in a month-long span. Tha God Fahim and Nicholas Craven kicked things off on October 24 by revitalizing their Tha Myth Who Never Quit series with the second and third entries.
That trilogy is five years old now and it’s one that has quickly become a fan-favorite run of tapes. Another one you can now throw in there is one that saw its inception take place about a week and a half ago. That would be Dump Gawd: Hyperbolic Time Chamber Rap. Tha God Fahim and Craven extended the Time Chamber Rap collection to 2 with eight tracks, which some of the best soul chops/loops you’ll hear all year. Like most of their bodies of work, its on those two platforms we mentioned earlier. If you want to support the artists in full, you can click the first “[Via]” link to purchase the digital album. Or if you check out the second shortcut, that will take you to the YouTube page.
Tha God Fahim has built a reputation for dense wordplay that somehow feels tossed off and casual. He’s able to make verses sound as though they’re coming to him in real time, which gives his music a feeling of authenticity. Tha Myth Who Never Quit was a prime example of this skill. He was able to provide lyrical wizardry over producer by Nicholas Craven. The sequel, Tha Myth Who Never Quit 2, provides listeners with more of the same. The duo continue to flash their musical chemistry over a project that it is a shade under a half hour.
Tha Myth Who Never Quit 2 may have flown under the radar due to the fact that it’s not available on Apple Music or Spotify. Instead, the album is available on YouTube and Bandcamp. It’s very much worth your time, however. Tha God Fahim proves that he hasn’t lost a step lyrically on the stellar second song, “Aspirations.” The production from Nicholas Craven is jazzy and contemplative. “Make Way” somehow ups the ante with arguably the best beat on the whole album. Tha God Fahim’s delivery is especially emotional on this cut. The rapper also shines on “Out of Options” and “Figure It Out.” The latter has a choppy, nostalgic feel that makes it sound ripped right out of the 90s. Another winner for Fahim.
Let us know what you think of this brand new album, in the comments section down below. Additionally, stay tuned to HNHH for the latest news and updates from around the music world. We will continue to keep you informed on all of your favorite artists and their upcoming projects.
Quebec’s rap scene is as niche as it gets but don’t get it twisted: the talent shouldn’t be overlooked, and Mike Shabb is at the forefront. His French-centric bars fused Caribbean cadences with spacey, psychedelic post-Soundcloud rap production that captured the youthful essence of growing up in Montreal’s Hochelaga neighborhood. And while much of that laid the foundation for his Quebec-centric base, it’s actually his production that garnered significant attention from South of the border.
After landing production credits on Westside Gunn’s “Switches On Everything” (and apparently, Michelle Records), Mike Shabb’s stock went all the way up. He became a proponent of the drumless sample sound, which his close friend and collaborator, Nicholas Craven, specializes in. Shadow Moses, their 2023 collaborative project, captures the essence of their chemistry. However, it’s hard not to deny how their working relationship and friendship extended to Mike Shabb’s latest project, Sewaside III, which boasts a few Craven beats as well as some of his close collaborators, such as Boldy James.
“[Nicholas Craven and I] probably spent $1,000 every time we go up in this shit, trying to find the best sh*t we can. That’s hip-hop, bro. Like, that’s what we grew up on and shit,” Shabb told HotNewHipHop ahead of his performance at Festival D’Été De Quebec. “That’s why I feel like we’re special because we keeping the original recipe, we rocking it up a little bit.”
Just hours before Nas was set to take the stage (weather concerns forced the festival to cancel the Queensbridge legend’s performance), Mike Shabb delivered a high-energy performance alongside Nicholas Craven on the ones and twos and Trapmat as his hypeman. Before his performance, Mike Shabb chopped it up with HNHH to discuss his latest project, Sewaside III, his relationship with Earl Sweatshirt, and so much more.
Mike Shabb performs at FEQ. Photo : Stéphane Bourgeois via FEQ
This interview has been edited and condensed for clarity.
HotNewHipHop: How are you feeling before the show?
Mike Shabb: It’s an amazing opportunity, I ain’t gon’ hold you. This is my first time here. Not my first time in Quebec but my first time at FEQ and sh*t so it’s big, bro. It’s a huge opportunity. It’s probably going to be my biggest show.
And, you’re basically opening ahead of Nas.
That’s a blessing, bro. I grew up on Nas and sh*t. That’s one of my favorite rappers of all time. It’s an honor, bro. It’s crazy.
It’s dope because I see you as someone at the forefront of Quebecois rap.
Especially in English, but like, yeah, and I mean, I feel like the music is kind of – not the same, but like, same essence and all that so yeah, that should that should definitely gon’ work. It gon’ work, for sure. It’s gon’ be fire.
You’re bilingual, too, right? Like, you also rap in French?
I try to slip a couple of lines here and there but it’s like, bro, the thing with me is I grew up like fully French, bro. I had to learn English like with the music and shit. And then, I grew up with so many like English music type sh*t. I was like, “Yo, if I make music, it gotta be in English,” you feel me? At first, I started rapping [when] I was like 15. My English wasn’t even that good at this time. I was still doing it because I was like, “Yo, this is what I want to do” and shit, then I just got used to it. I made a whole lot of English friends in my city so that helped me a lot, also. But yeah, well I was born – I’m a lil’ French Canadian boy, man.
You’re from the East Side too, right?
I’m from the East Side of Montreal.
And that’s usually the more French side.
It’s all French. All French and Haitian. [I’m] half Haitian, half French Canadian.
Yeah, I’m closer West so it’s a lot more English.
For real, Montreal is so weird because it’s basically like two cities in one, you feel me? You got the whole English side then you got the French side but it’s like all in the same. And everybody understands each other so it’s like – it’s a blessing. Montreal is crazy. It’s an amazing city.
Sewaside III just dropped and it feels like a triumphant release for you after such a prolific run these past few years. Can you tell me a bit about the process behind this album including the features and how this project reflects your growth as an artist?
Damn, that’s a good-ass question, bro. I guess I was just trying to make the music I felt like doing at that moment. And then it was like – everything fell in place perfectly, bro. Since I linked up with Craven and sh*t, I’ve been going on trips with him. I’ve been going to Detroit with him, New York. So I met a lot of people through him. That’s how I met Boldy [James], Navy [Blue] and all that. It just came naturally, bro, like the features and all that. N***as is just genuinely fucking with me, bro. So I was like let’s do it. Then, as far as the concept for the album – I don’t know, bro. It’s what I’ve been going through for the past years and shit. What I’ve seen, what I’ve heard. Bro, this shit is like – this is my life my whole life in one album, basically. Like all my pains, all that shit. So that’s what I worked like maybe like a year on that sh*t. I made, maybe, 30 songs in a year and I kept 17, and that’s the album. I ain’t even make that much music. Every song I made, I was like “yeah, this got to be the one.” So yeah, that’s how it came about, bro. Sewaside III, that’s just like… I think that’s my best album. My most complete album and sh*t. That’s not even the end. I’m about to drop Sewaside 4, 5, 6, 7, 8, 9.
Did you do the features in person?
Most of them I did in person. The Boldy James one, Craven was there. He recorded it for me because he was in Detroit with Boldy. I couldn’t be there so I was like “Yo, get my shit!” And he did, though. Everything went smooth, though. Like, I ain’t felt like I had to rush n***as or anything like that. Sh*t just came naturally and now it’s out. And, it’s a beautiful project. I’m proud of it.
Even working with Nicholas Craven on Shadow Moses, the sound itself is boom-bap –
It’s sample-based music, bro! Everything got to be sampled. Like, me and [Nicholas Craven], we go to the record store shit, we probably spent $1,000 every time we go up in this shit, trying to find the best sh*t we can. That’s hip-hop, bro. Like, that’s what we grew up on and shit. And I feel like producers nowadays don’t even do that anymore because everything is digital. That’s why I feel like we’re special because we keeping the original recipe, we rocking it up a little bit. So it sounds actually actual.
You guys have amazing chemistry together. Like, you never miss a beat but I read that Complex interview where you said that you guys don’t even really work on music together.
That’s what I’m saying. Like, man, me and Craven, we basically really good friends, bro. It’s not even about music at this point. But I mean, he got a name, I got a name, so why wouldn’t we? [laughs]
As a producer yourself, I wanted to know how the creative flow for you differs from being behind the board to working with Craven where he’s kind of – I’m not sure if your process is always him taking the lead in that sense or if it’s more collaborative.
I’m so picky with beats, bro. Exactly, because I make my own beats most of the time. So it’s like, I’d be trying to pick stuff that resonates with me, but like sometimes I gotta go to 1000 beats before I find like five. So basically, that’s how Shadow Moses came about, bro. That n***a played me like to 200-300 beats. I picked six, I said “yeah, that’s gonna be the album,” and we did it. But like as far as me [and] the way I do my music, basically bro, I’ll start making a beat and shit, and then I’ll know it. I’ll know exactly when. I’ll be like, “Yo, yeah, this the one right there. I got to rap on this sh*t right now.” So that’s how I work. I basically make the beat first. Like, my little ideas and sh*t. And then I’ll just go and write, write, write some stuff, or punch in on the mic or whatever. And then I’ll play around with the beat afterward and shit. I feel like that’s how you make like complete songs and shit. You do your first step, it’s like you got to make the beat, and then you got to rap all that shit. And then you can add little details and shit around the beat to make that shit, you know what I’m sayin’?
Mike Shabb performs at FEQ Photo : Stéphane Bourgeois via FEQ
I have to ask about the Earl Sweatshirt co-sign. How’s that relationship developed? And have there been any discussions of collaborations in the future?
Bro, I don’t even remember how it came about, for real. I feel like I had posted a snippet one day on Instagram. And that n***a like, straight up – bro, he straight up DM’d me or some “Yo, you hard as f*ck. I keep running that.” He was talking about the “Buckshot Flow 93’” song and then he was talking about the “‘83 Beatstreet,” those two songs he was like, “Yo, I keep running this sh*t.” And I was like, “Yo, bro it’s 100,” because obviously, I grew up on Earl, bro, like, the whole Odd Future shit bro… That sh*t had me in a headlock! Bro, I used to walk around with them long-ass socks and sh*t, bucket hats, all that because of them. Ophelia like I bro I used to walk fucking long as such fucking has all that because of them.
Basically, when he hit me up and shit, I was like, “oh, that’s big, man.” And he gave me his phone number and shit. I talked to him on the phone. We text sometimes and sh*t. He’s a real good dude, for real. And then he went on the fucking the interview, the podcast and sh*t, and then, bro, I seen him. You seen it, right? He was going through his phone. And he was like, “Oh, Mike Shabb, I f*ck with Shabb.” I was like, that’s crazy. Yeah, he just blessed me right there. I earned like 1000 followers on Instagram in the hour, bro.
I f*ck with Earl, bro. And definitely we got some sh*t coming. I can’t tell you when but it’s coming. It’s coming, for sure. Me and Earl got some some sh*t coming, for sure.
Kevin Durant, Earl, Joe Budden – all these people checking you out. What do you think this means for Montreal’s music scene at large?
To be honest, bro, I feel like it’s a wonderful thing. I don’t know if Montreal people realize it, like how big that shit is. But like, it’s gonna come naturally. And then, it’s a blessing for me before anything else, so I just got to keep on doing what I do. If it’s good for me, then it’s good for the city, you feel me? That’s basically it.
Final question: you mentioned that Sewaside 4, 5, and 6 are on the way but is there anything else you’re working on that we could expect from you before the end of the year?
I’m working on some more trap shit right now, I ain’t gon’ hold you, you know I’m saying? Like I did my part in the drumless scene, now I’m trying to get back to my old sh*t. But yeah, definitely gonna drop another tape and shit. Maybe, by the end of the summer. [I] already got like 20 songs stacked up. We ain’t stoppin’, bro. This sh*t never stops. I’m just gonna keep applying pressure and do what I do. Some real shit. Yeah, we definitely dropping some more sh*t in 2024.
Boldy James is always willing to drop a new album at the drop of a hat. One of the best lyricists from the South, he is bringing it once again on his 18th overall project. The 41-year-old rapper likes to work with a partner in crime. This time, the person that is joining him on his gritty journey is Nicholas Craven.
The Canadian producer is no stranger to Boldy, though. These two ultra-talented and detail-oriented undergrounders first worked on a tape back in late September 2022. Together, they put the concise Fair Exchange No Robbery. So, it is nice to see them rekindle their work relationship on Penalty of Leadership.
Listen To Penalty Of Leadership By Nicholas Craven And Boldy James
Ahead of the release, Boldy and Nicholas gave the fans something to chew on until today. The lead track dropped during the backend of November with “Brand New Chanel Kicks.” Then, about a month later they brought out maybe the most soulful track on the whole record, “No Pun Intended.” Only feature lands on the 11-song offering, and that is Double Dee on “Early Worms Get Birds.” You can stream the album everywhere, now.
What are your initial thoughts on this brand-new album, Penalty of Leadership, by Boldy James and Nicholas Craven? Is this the duo’s best album together, why or why not? Which songs are grabbing your immediate attention so far and why? What is the best beat on the record and why? We would like to hear what you have to say about all of this. With that in mind, be sure to leave all of your hottest takes in the comments section below. Additionally, always keep it locked in with HNHH for all of the latest news surrounding Boldy James and Nicholas Craven. Finally, stay with us for the most informative album posts throughout the week.
Nicholas Craven is an underground producing legend. The Quebec-based talent has been going at it since 2017. Honestly, with how meticulous he is at his craft, you would think he would be doing this for decades. It makes it even more impressive with that context in mind. Craven has worked with some of the best lyricists in hip-hop, one of them being Boldy James. The two are great together and have a tremendous rapport.
Back in 2022, the pairing put out a 10-track all-killer and no-filler project, Fair Exchange No Robbery. Outside of the one project, Craven and the Detroit rapper also have some other cuts together from previous works, too. This is why it is exciting to mention they are teaming up for a second full-length next year. Rumors have it that Craven and Boldy will be ready to drop sometime in January.
Listen To “No Pun Intended” By Nicholas Craven And Boldy James
The tape will be called Penalty Of Leadership. So far, only two tracks are out for it. We got our first taste of the record back in the middle of November with “Brand New Chanel Kicks.” Now, we have cut two with “No Pun Intended.” This one features some incredible chopped-up soulful vocals in the production. Then, of course, you have Boldy spazzing on it as per usual. It is safe to say we cannot wait for the full body of work.
What are your initial thoughts on this brand-new single, “No Pun Intended,” by Nicholas Craven and Boldy James? Is this the best track out of the two singles in promotion for Penalty Of Leadership? Is Craven a top 10 producer in the game right now, and where does he rank all time? Will this include the best rap performances by Boldy in the last few years, why or why not? We would like to hear what you have to say about all of this. With that in mind, be sure to leave all of your hottest takes in the comments section below. Additionally, always keep it locked in with HNHH for all of the latest breaking news around Nicholas Craven and Boldy James. Furthermore, stay with us for all of the best song drops throughout the week.
Boldy James is one of the most consistent forces in the genre of hip-hop. He’s so dedicated that even a car crash hasn’t been able to stop him from sharing his art. On Friday (November 17), he and frequent collaborator Nicholas Craven reunited on “Brand New Chanel Kicks,” which markedly finds the lyricist updating listeners on his recovery journey. “Three weeks ago was paralyzed, my people’s all was terrified / Been had a blue check, but in the streets you know I’m verified,” he raps mid-way through the song.
Elsewhere over Craven’s production, James shares that he was wearing a pair of “Brand New Chanel Kicks” when he was finally able to stand up from his wheelchair, hence the name of their collab. “Screws and rods all in my shit. I couldn’t do nothin’, I couldn’t even move my motherf**kin’ toes,” the 41-year-old says on the outro, reflecting on how far he’s come physically since the January incident.
Boldy James and Nicholas Craven Are Back on “Brand New Chanel Kicks”
As Stereogum notes, along with the new single came an announcement for the rapper-producer duo’s next project, Penalty Of Leadership. More details have yet to arrive. Still, after what we heard on Fair Exchange No Robbery in 2022, we’re curious to see what other bars Boldy has ready to go. Thankfully, Craven’s beats seem to always provide the Atlanta-born artist with the inspiration he needs to express himself in a clever, candid manner.
Listen to Boldy James’ latest collaboration with Nicholas Craven above. If you’re feeling “Brand New Chanel Kicks,” make sure to add it to your playlist on Spotify/Apple Music. For more HNHH release recommendations, click the clink below to stream our weekly Fire Emoji update.
Had to place another field bet Invested in the pill press and ran me up a real check Three weeks ago was paralyzed, my people’s all was terrified Been had a blue check, but in the streets you know I’m verified
Ransom and Nicholas Craven’s Deleted Scenes 2 is an EP with track titles sharing their name with movie titles. No samples from the respective movies appear on the songs on this project. However, a snippet from The Shining’s opening scene with the character Jack Torrance does play at the end of the opening track, “American Made.” In this project, Ransom combines creative bars with motivational truths from his own life. He drops punchlines and references with ease, never forcing the listener to dwell on them long because he’s already moved on to the next one. Lyrics like, “Look, they ain’t support your flight, shouldn’t mean they stop you from soaring,” combine motivational advice with creative imagery. Less complex but equally effective bars like, “You struggle for pennies and still you won’t change,” frequently appear, too. Ransom’s direct delivery ensures their efficiency.
Nicholas Craven’s Production Falls Short
In Deleted Scenes 2, Ransom’s verses blend well with all of Nicholas Craven’s production. However, the display is somewhat formulaic and sticks out because of the short length of the project. Every beat is either a pitched up or down soul sample loop. This method is part of Nicholas Craven’s signature style but can get repetitious here. The loop on “American Made” mirrors Ransom’s lyrics which was an effective creative decision. “Arrival” offers some pleasant strings and piano keys, while “Homefront” has a dusty guitar loop. However, Craven’s production doesn’t have the same impact as it has had on other projects. His ability to find, chop, and loop the samples is still commendable, but it is not quite as dynamic as expected on this. It’s not bad – but he has done better.
Ransom & Nicholas Craven Are Underground Staples
Deleted Scenes 2 brings two popular names in the underground together. Nicholas Craven is a producer from Canada. He’s known for his work with underground artists such as Tha God Fahim, Boldy James, Mach-Hommy, and, of course, Ransom. He’s also done several songs with fellow Canadian artist CHUNG. Craven creates ominous, elegant, or smooth soundscapes – and everything in between – for the artists he works with. Meanwhile, Ransom is an underground artist who has worked with Conway The Machine, Che Noir, 38 Spesh, and others in the gritty underground scene. However, he has made quite a name in the same space, despite the falling out of his group with Hitchcock and Joe Budden called The A-Team.
Deleted Scenes 2 Is A Good Project
Deleted Scenes 2 offers listeners who like clever bars, long but strong hooks and soul chops something to enjoy. At just under 15 minutes, those who support these techniques may restart it from the beginning after the final song ends. Ransom effectively uses his time by dropping short but impactful verses, and Craven’s production complements it despite its issues. With the featureless project, listeners get a glimpse of how well Ransom can hold down a song on his own, and he does a good job at it. The project serves as another entry in the ever-growing catalog of underground music and would be a decent point for anyone curious about this world of rap.
