‘Beat Maker or Producer’-whats the difference?

Last week as i was chilling at  Port bell drive Music I happened to land into a conversation with Nase Avatar on music production and later with Analytical Alz  on more ideas of beat making, which was quite insightful. We spoke of Beats, Instrumentation and hip Hop production in general. The conversation didn’t really center around who a beat maker and a producer is?.  We all assumed unconsciously that the two are of course different. We were having a casual conversation that we strike every time we are in studio.

How is That Up  important?

Well if you didn’t know Nase Avatar is a full-time producer at Port Bell Drive and Analytical Alz is more occasional  a producer and in most cases will be called a Beat maker. Doesn’t make sense right?

Then Lets Move on with the Difference between A beat Maker and A Producer:

A Beat Maker is …..

“Usually this is the person who sells or leases the beat to an artist before ideas, lyrics, arrangements, etc. are done. This person has no influence on how the record turns out or the direction of the project. Once you get the beat, exclusivity not a lease, your pretty much done with this person until your album is released.” Extracted from IndieHipHop.net 

So the Beat Maker, is that guy who pretty much lays the first instrument, develops the bass, lead drums and puts the melodic instruments to form what you call a beat or instrumental. In most cases has even no idea how a rapper will jump on it. The beat maker then should be called the first Baker who prepares the dough for the cake.  In Tucker HD’s Voice., “Ya Dig”

Moving on

A Producer Is….

As we spoke with Nase he mentioned something about Dre and the likes of Timberland, (the two are American Producers). Our conversation was about ideas that producers over see or influence on a “record.”   This explanation can try to define a Producer, ” A producer has many roles that may include, but are not limited to, gathering ideas for the project, selecting songs and/or musicians, coaching the artist and musicians in the studio, controlling the recording sessions, and supervising the entire process through mixing and mastering.From an online forum Via Future Producers.com

The producer is the guy with the icing as regards making of the song after the beat was produced. He is responsible for making Rapper X and Vocalist K sounding amazing on the beat by Beat Maker B( Not for Baru though)

But isn’t Beat Making Part of the Production Process? Don’t Producers Beat Make?

When i left the studio I remembered ALZ telling me of Jah Lil Beats’ (American Beat Maker’s) story. And I immediately recalled we have Baru Beatz here locally. I am sure Baru before producing a whole song with the lyrical and other important details was a beat maker. Now the boy / Young King Now is an in-house producer at Dustville Records. A beat maker some times could have his hands on the whole production process and literally he becomes a young producer as it sounds like. A producer technically does the mixing and mastering, and may influence where which verse and hook should be. He is the GUY at Post Beat Production in most cases.

I use Baru because he was once a typical beat maker and  now a  producer ,who has mastered the craft of now making a full song. ALZ on my way out he speaks of how he is much more interested in  making beats than the whole production phase.  Dang!  This got me thinking, yes  beat makers contribute to the first step and the producer continues with the beat made.

How Comes we don’t get to hear of Beat MAkers?

Beat makers don’t seem to get credited in most cases especially if the final track comes from a popular studio or even the fact that it is from that studio X its made by Producer G. Do you remember one of the reasons for Who Killed Hip Hop?; stealing beats!

Is the Conversation Still On?

Of course not, As i wrote this i considered two things; one some people can’t differentiate the two individuals, and two it’s not clear for some if a beat maker can be a producer or the other way round.

Cover Photo From www.beatmakershq.com



God above everything | Radio host,Rapper ,Poet & Teacher:| Entertainment writer,Education And Inspiration Trafficker. Blogger and Podcaster with an expansive knowledge base that keeps growing in Hip Hop, Spoken word and poetry. Anti-Depression, Anti-Depresser Founder NuveyLIVE | MoGUAP iNK and chief blogger @ http://www.nuveylive.wordpress.com Part time Chocolate activist!!!!!!!!!!!!!!! Freelancer


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Is LLYBOC the only rapper Formalism defends even after the clarity on Ntinda Anthem?

Written By Ayella N Robert |

Pryce Teeba put it clearly on his 2015 wrap up that “open Letter ya double L te’bajiiwa matu” which loosely translates to: LLYBOC’s Open Letter was not listened to or attention to it was nonexistent as per Teeba’s view. Yes it wasn’t listened to due to a number of projects that were highly anticipated including; the UG Cypher 2 which LLYBOC had summarized in a mathematical equation upon its release, other projects overshadowed it too especially the projects from Ntinda rappers and major releases at the time it was released.

For anyone who listened to Ntinda Anthem, vibed to it and somehow felt a part of Ntinda (even though you don’t hail from there),-and when you listened to Open Letter and King Of Brokenness and asked yourself questions on whether LLYBOC is against everybody_ Shame on you. On Ntinda Anthem LL clearly puts, “I don’t follow rules” and in a conversation I engaged in with him and rapper AJO (sometime last year) he always spoke with this very attitude. This doesn’t mean he will wake up to break the law, but it’s his way of expressing himself through hip hop spoken form rap, which is a form that he has artistry in for a rapper like him.

Of course the part I should start answering is what this article is about starts here. LLYBOC might be among the few Ugandan rappers whose art can be critiqued for what they are, or their form. And for starters Formalism is a literary theory that seeks for answers within the produced. Looks at a text (art, in this case hip hop) for what it is and in most cases critiquing it within its genre and ideally ignoring other aspects such as the author or his background. Now how this is related, you may ask? True! For this case we substitute all LLYBOC’s work for the TEXT or that piece of ART. In this case I am mostly interested in Open Letter and King of Brokenness which a number of fans didn’t react too positively or even viewed as a rappers weakest form of expression WHY?

Open Letter:

When some call him a mere name dropper on his tracks or say he is only calling out Ruyonga, Lyrical G or Benny and Severe, the question we tend to erase is how does he do that? As a lyricist he doesn’t make the statements lightly and easily arrived to because these are all manifestations of a conscious writer (at least for the stylistics of LL underlined in his emcee pen). I mean you never see it coming which he admits to himself-“you never see it coming like Mc Kats dating Fille” on King of Brokenness. His work has been this type that is bold; making statements and for him satisfaction I guess for lacing these intelligent words for good flows.

When King of Brokenness was released on 2nd August, 2015 the reaction to it was obviously fair to the piece of art. Realistically was a dedication to those who tried and never made it up, those successful and bound to probably break. In the lyrically dexterous verses he invokes us to believe we are Kings in our brokenness and this is possible because he mastered the craft of capturing attention with outstanding lines that you never see coming. The beat simply suits his delivery and he sounds broken too when “he gets the flow” a line he uses to show off his ability.

Baby am the Shit…” he brags about his skill if we translate this further he is a braggadocio here and since, many rappers are respected for having a clear delivery LLYBOC is no exception. If you remember the time when windeck remix which featured former college Tucker Hd (of Airportaxi), Peter Miles and Navio you will acknowledge the raw LL, whose skill set of metaphorical vicious lyrics and unapologetic topics have continued to grow even if psychologically he might be broken due to the course of events, pressure and devastating remarks (which he best responds to through this form, RAP MUSIC). But of course it the TEXT we are concerned with.

King Of Brokenness

Then the worst came (as hip hop fans) Open letter was ignored for various reasons that for the sake of Form weren’t satisfying enough. The images that he sought to paint seemed to come out of anger and his higher expectations that for anyone who bothered to look beyond their favorite rapper being blessed with nasty descriptions. If you are to reexamine the content of Open Letter, is it different from the attitudes on Hot 100 another track that seemed like, yet a name dropper’s opportunity to mess with the hot 100 staff then. The ability to observe and create is what LLYBOC is about actually. So the content within the music is created is what many seem to ignore.

If the whole industry decided to answer back LLYBOC I don’t think they would match the art this rapper has decided to assign himself to, it’s a form of his that requires him not to “kiss A**”  which if I am to remind you is another translation of LLYBOC doesn’t follow rules.  If we are to psycho-analyze him however it’s likely that the world he creates might be exactly what he thinks of the given art (Hip Hop), his feelings are expressed despite their nasty appeal and insulting notions that many tag his work to. And since failure to look at the text (hip hop as art) and to analyze the lyrics exposes our hip hop fans (who aren’t always interested in lyrically heavy music). We do know lyrics are part of form aren’t they?

To put this argument more clearer; task yourself to listen to any of LL’s works and especially his Open letter not from the point of view of a skeptical fan of hip hop but, listen for the purpose of discovery, for the sub-genres sake,( Rap/Real Hip Hop) and see what you shall discover. Once again Formalism works that way, even though this attempt to use a literary theory (Formalism) to make people appreciate hip hop, by trying as much to be objective guess must be the first time and challenging thing to do.

To understand LLYBOC; it has to be through listening to his work rather than pay a lot of unnecessary time on his personality for approval. The young man is as talented as anyone good in the industry but doesn’t mean he doesn’t need some clean off and redemption.

Links else where: Formalism


Contact us: @NuveyLIVE Writer: @NuveySHAWN

6AM In Nairobi By Flex D’Paper (Freestyle)

Needless to add any details to what Flex D’ Paper decided to come back with from Nairobi including Tind Badi Malo he seems to have come back with also a clear perspective and mission. The Navio mentored rapper with his will to be the fresh prince from Kampala slays this one with the mighty touch of Baru. The point of view is what i think Flex needed to have for it has been a while without him releasing new music. He gives us a glimpse of what he has been doing in Nairobi, his circle and team 3:12 which is remarkable.

Please do enjoy with the lyrics below.

Time check 6AM in Nairobi
Still in the smoke zone with bad galz in the lobby
Got two gals on they knees that are ready to blow me
While my gal In kla city texting me that she lonely ..Oooh
Montana thoughts like as though am Tonny
Planning to cash checks from these dudes that owe me
squad ball hard, so they treat us like Kobe
Keeping the circle small we not dealing with phonys .. Noo
Am just being precise
On the 19th floor at the best restaurants
And order foods with names that we can’t pronounce
Then head back to bad broads that we left at the house .. Ouch
This is Ether with a twist of Takeover
Dust to dust with a bit of composure  Location kempiski villa rosa
So bring it on, we strapped I got soldiers
The homey Aeth got me like my uncle Phil
Still, the fresh prince, I got the Will
To Eat up the competition like am having a Meal
So Fellow rappers telling me That wasn’t part of the deal
They tell u lies I bring u facts
I had to expose them mc Kats
Am in the cut VIP am cooling with madtraxx
He told me am a leader so I gotta to play my part
First position while I see them coming last
Winners circle With Cleo at skylux

The Mith told me young homey relax
If u talk about the cash u might get us taxed
I Got Navio on the cell, like nigga just Come thru
The sankara top floor we cooling with bamboo
Talking about rap and we making boss moves
Surrounded by the best, my nigga I can’t lose
Was getting booed am now paid for  Verses
Skooling these dudes am now paid for classes
Got lose screws I burn mics to ashes
Its fire in the booth Charlie sloth would love this (perfect)

Yeah

I said its fire in the booth Charlie Sloth would love it  (perfect)
We don’t do that backpack rap fam
We don’t do that over here
It’s  bout the numbers fam
Ooooh
RAPAHOLIX on this one
It’s the battalion
Baru Beats on this one

Lyrics Source : Flex D’ Paper

Tha C.y.P.h.A – Bon.B, NuveySHAWN, Golddust, Anonymous(G2 Complex), AJO(CBM) & I-M Music

Tha CyPhA is a collaborative project  produced and directed by Mento-X, real names Mugarura Denis Robinson of G2 Complex and he introduces  Bon-B, NuveySHAWN, Gold Dust and Annonymous all from G2 Complex, AJO (Clean Block Music) and I-M Music’s producers Delaru and Kodan whose first appearance as rappers is documented by this cypher. The project released March 26 at 8:33pm  is a representative of the hoods the various contributors to the raw and edgy sound that Mento-X took charge to materialize into something. In the order of appearance the emcees Bon-B(Kititantale), NuveySHAWN(Luzira/Biina), Delaru(Mutungo), AJO(Mbuya/Mutungo), Gold Dust(Kitintale), Kodan(Mutungo) and Anonymous(kitintale) show off their lyrical dexterity and give a glimpse of their hunger and unheard voices.

I-M Music’s out fit (Delaru and Kodan) explore their Itesot flow complemented with Swahili and english to give their sound a distinctive marker and an indicator of diversity for the total project all together. AJO and Gold Dust take the hyper angry route showing their hoods energies lyrically. Bon-B and NuveySHAWN (also a blogger here) take the calm but insightful take which is re-echoed by Anonymous (who doubles as a manager of G2 Complex and has worked with a number of producers including Andy Music, Notsy) as a wrap up of the main intention the project was in the first place thought of.

“Redefinition with a motion”

G2 Complex has projects in maturing like the Video to Tha Cypha set to be released in around 15 April and NuveySHAWN who is wrapping up with his SHAWNESDAY compilation a follow-up to his Debut Mixtape TSN. AJO (From Clean Block Music) who is a good college to the Complex artists is set to release his EP No apologies in May of this year, which is a follow-up to Rap Music I Sing a mixtape that featured Hannz Tactiq, Lethal, OPU and others. Bon-B and Gold Dust have unreleased projects.

Tha C.y.P.h.A is well packaged with a crisp taste of clear and informative messages embedded in the voices of these rappers who hope to dominate respectfully and are so distinct in their approach as they deliver.

Kitintale, Luzira and the dominant Mutungo will be hopefully represented appropriately just like Rubaga, Bukoto and Ntinda.

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Ugandan Female Rappers: Have they Been Recognised?

Uganda  embraced the hip hop Culture about 15 plus years ago and honestly speaking it has been for a long time a male dominated Genre and Culture. Despite the emergency of Hip hop cliques, groups and Gangs* as some call them, that boasted of some nice and lyrically reach Female rappers or FemCees as they are globally labeled.–“the male rappers dominated this spectrum. Whether mainstream or Underground it was unheard of for a female Emcee to gain more attention on a scale of 5 (five-to narrow it down) than the male counterparts. On hiphop’s attempt to grow, the male rappers seemed to take the lead than the Femcees.” Uganda has over five established hip hop artists including Navio , Ruyonga Enygma , Sylvester, Abramz TekyaLyrical GmcBabaluku and more(who are the old generation who have ‘kept it real’ and still relevant). The industry also boasts of newer and fresh rappers like Pryce Teeba, Patrobas, Tucker Hd AJOLlyboc, Anonymous, GoldDust and many more youngens*. 

Whether mainstream or Underground it was unheard of for a female Emcee to gain more attention on a scale of 5 (five-to narrow it down) than the male counterparts.

L-R: Sylvester, Lady Slyk & Abramz

L-R: Sylvester, Lady Slyk & Abramz

well you notice i didn’t identify any female rapper up there. You may be asking Your self now ” Does Uganda have any Femcees?” Well friend we all know the answer Friend. YES and they are a FEW ESTABLISHED and RECOGNIZED. Should we blame it on the chauvinist nature of our society? or Is it because the males ventured in the culture first?. Globally Female rappers still struggle with negation and all the stereo types of WOMAN!. Mc Lyte was no exception about 25 years ago. When rap Music emerged in the 1970s it took about 15 years for Female rappers to get some air play, even when they did they struggled to prosper through. But enough of the “Far story”

Keko shot from See Ya Video

In Uganda Keko (real name Tracy Joycelyn Keko) is so far the first  most established femcee who has enjoyed massive airplay in Uganda, East Africa and the rest of Africa. She was greatly embraced by 2010. her biggest breakout track “how we do it” gave her a place in the hearts of hip hop lovers. Right now she is signed to RockStar4000, a sony Africa entity. She has a lot of very fine music videos for tracks like ‘see ya’ , ‘mutiima’ and many more. With no doubt she is the leading femcee right now in UG. However even with  her enormous succes there have been few femcees emerging on the scene.

Susan Naava

Susan Naava

As the male counterparts deliver their content out, a sort of challenge is developed for the female rappers to make music that highlight the sensitive issues that as Ugandans we face. Rappers like RoyalGee, Lady Slyk, Becky, Susan Naava( remember her on competition is dead All Star rappers track) had some vibrant features on the scene as far as I remember. Of course we can’t say newer female rappers like Fasie didn’t emerge then—Ninja C too. As 2015 ended  there were few female rappers gaining required rotation like the males. There was only one concrete project by Ninja C :Ninja Attitude Mixtape. Is Something wrong with the industry? , may BE.

Under the Bayimba Hiphop bootcamp managed by Sylvester kabobombo the number of female rappers sort of increased basing on the last boot camp. We have seen Femcees like Tumwine Cynthia or well-known as Ninja-C / Herninjaness get on male dominated projects such as BaruBeatz Redefinition Ep. this is a Plus for the females. NTV’s News Beat some How paints it clear that the females can in Uganda spit nice elite material. I could say Lady Slyk is the face there, though other young Femcees get featured.

(Internet Photo):Ninja C

(Internet Photo):Ninja C

It is not written any where that females shouldn’t rap but some people could think that way. to bring Back MC Lite, she laid a foundation for her predecessors in America to rap out as “woman”. So my point here is the inspiration from Keko or any other Femcee (Ninja-C name it) like MC Lite and TLC did in America has reached somewhere, but Hip Hop Culture   has for a long time been male driven.: I mean art like Breakdance, Beatboxing, Turntabilism, & Graffiti if mentioned in a conversation am quite sure one female wouldn’t pop up easily and therefore with Rap Music itself that’s where a few are fairing. And as a sort of notion many rappers in and out of Uganda have painted a females role in society negatively and highly degrading, which is a disease eating real hip hop.

In the words of Mc Lite You May try to get the picture below

it is all summarized in this Quote:

“It has gotten to the point that we have been subjected to such harsh verbal treatment 

— assassinated even — that who would want to listen?” —MC Lite

Quote Adapted from  NPR.org


This post has been updated

 

Rewind of the Day: Crash & Burn-MYS Natty Ft Atlas & Gasuza

It’s about five years and this track still feels fresh and sounds ideally great due to the attention that was paid on its quality production at Bush fire Records. The Track has MYS Natty who sings the hook which makes her the right rnb voice for the two controversial rappers, Atlas and Gasuza ( who happens to have directed the official video). The song came at a time when i think we could say ” Ugandan Hip Hop was enjoying a Golden era”. I mean who doesn’t remember the period of 2008-2011. Personally i think 2011 had marked a certain level of Ugandan hip hop that in the years that came a head not so much quality  hip hop was being made though 2015 was exceptional.

Burn is a lovely song about a relation that is gone bad with no hope of being reinstated hence the notion ” crush and burn”. Atlas who raps of his “living fast” vocalise’s the life of a person / rapper who is ambitious chasing more than they can fathom and ignoring a number of things and ends up crushing. That is justified with Gasuza adding up with “the relationship is no longer healthy” and so he goes his way and she to hers.


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Global Ear: A HipHop Virtual Museum and what we should learn from it

We are motivated to talk about Ugandan Hip Hop, poetry and spoken word to the world over and at the same we aim at finding information that is relevant to a Ugandan society and for this case / post, Hip Hop. The fact that the initiative by Universal Hip Hop Museum is most likely to affect world-wide audiences and matter of fact reach them through this supposed App- A digital Museum.


 

Universal Hip Hop Virtual Museum project video thumbnail

A Virtual Museum That Brings The Global History of Hip Hop To All Mobile Devices Worldwide. 

The Universal Hip Hop museum is the official museum of Hip Hop Culture. The first fully interactive museum designed for mobile devices. Backed by Hip Hop Pioneers such as Kurtis Blow, Afrika Bambaataa, Krayzie Bone, Ice T, Melle Mel, Grandwizzard Theodore, Paradise Gray, Q Tip, Doug E. Fresh, MC Sha Rock and other iconic legends representing Hip Hop’s 5 core elements.

We are seeking funding to complete the design and engineering of the world’s first mobile device powered virtual museum, for preserving, documenting, and advancing Hip-Hop culture Worldwide! Your support will aid in the creation of the most innovative virtual museum for cultural arts, education, and entertainment with a social focus!

Source: Kickstar.com


 

Some of the rappers from the US are undoubtedly inspirations and influences to some of our rappers that is so obvious however you should first ignore that at focus at the embrace of technology to preserve culture Hip Hop culture to be exact. What I think we (in Uganda here ) is that we can also embrace our culture through using these advanced technologies in an era of information. And more still embrace modern technology to preserve and document our culture.

Many I hate hip hop characters honestly could benefit from this and escape many of our hardcore hip hop man-ship rage towards them for their ignorance. In other words out of the five elements Knowledge is still the least explored even among the  participants of the culture (Artists)  themselves and their fans. This modern approach should be embraced and fully supported  and may be we can also develop our national hip hop museum that if at any point UHHM would love to include information about Ugandan hip hop.

Honestly it doesn’t HURT knowing about hip hop beyond your border!


 

FRESH CUT: Why my Dad hates Rappers and likes 80s Hip Hop?

PUBLIC ENEMY

They say what you see is what you get and please don’t forget not all you get you have seen it coming before. My DAD/  Zeeyi to be honest guy has no hip hop background or something like that, he grew up on something far from hip hop. I remember when East Africa TV – Channel 5 made an impression Uganda’s youth viewer ship, where hip hop got a lot of rotation on this channel. hip Hop at the time, had more influence among the youth( up to now hip Hop is more felt among youths).

One time as i was watching a music video on this TV Station, a mainstream rap song gets played and honestly it was about how this guy lays hoes , bi**ches and stuff  ( If you may permit). My dad happens to have been present! I think he was at that time assessing the kind of entertainment am so into, may be to see if am content with my world– i don’t remember anyway. But i would tell the video, its subject matter was really what we call weak Sh*t(if am still Permitted). He then provoked me with a few words, “you must be enjoying….eeh !” I didn’t respond but i felt like something is wrong.

CHUCK D ?

Let me repeat, my Paps has never had any hip hop ties to be honest, i don’t think he even knew Rappers Delight( some of the historical Hip hop songs), neither did he know Cool Herc, African Baambaata or even MC Afrik (r.i.p). I will rest that, but one thing i Know he liked poetry and good music. One day as i was watching TV again, DON’T BELIEVE THE HYPE by Public Enemy starts playing and You guessed right! Chuck D was doing his thing*. Did i ask you to Guess? Maybe subconsciously. So My old man stands right at the Door and watches this song till end and the face he wore was of ” Wow i like this” If you have watched the video then You know What am talking about.

So i  realized he actually gets moved by conscious hip hop and its creative flaws. But did he even pay attention to the fact that What he called GOOD MUSIC is actually Hip Hop. And am not saying hip hop is the proper word for Good Music. Any way who cares it makes up some of that. Hip Hop is a Gad-em Culture if am to Switch on My Bronx*

WHY HE HATES RAPPERS?

“I use to love rap when it stood for social injustice and the like, but now it’s all “hey look at my hoes and my bling bla bla”Bigboi500

So i think he would rather listen to a more educative and society conscious songs. Tracks like JJUJU-(by Enygma) lately saw him Mob to some point on my young sisters’ birthday. This reminded me of many hip Hop artists who used samples from soul, rock and Jamaican Dance Hall tracks. This blending and fusion interests him and i think it was more synonymous with the 80s and 90s too. (correct me if am wrong).

However my Dad is a funny Dude but he wont act funny to any work of art thats why he actually listens to the message. When i say he hates rappers i think you shouldn’t prepare to make a diss song for him. I meant rappers who have nothing to say but mumble poison. He listens to any type of music but i see him change faces when he gets in touch with really no message type of songs.

I don’t hate rap, but I do dislike the genre in general. I do look a few songs here and there though. Honestly, I find the music incredibly boring, I think it might be partially due to the fact that lyrics are last on my list of importance when listening to music.– 

Anonymous

HAHAHAHHAHAHAHAHAHAHAHHA^^^^^

 

It is a year today since Ajo’s Debut Mixtape RMIS was released- Happy Anniversary CBM!

wpid-rap-music-i-singart-work.png.pngLast year today ( 2nd February 2015) marks the day AJO of Clean Block Music (CBM) released his debut mixtape that had good rotation in its first week of release on a number of  radio stations prior to  and after the release. Rap Music I Sing aka RMIS had an important feature Back down with veteran rapper Lethal and Hanz Tactiq both known for contributing to Uganda’s music industry. It hit the charts as number one on Hot 100 which makes it his most craved for single.

The mix tape in total was produced, recorded and mastered at Yego by JT for most of the tracks like Trip, Recognize, Impossible and Victim. His efforts aimed at introducing us to  the raw lyrical prowess that he has worked on ever since primary six which he confesses on one of his tracks –Recognize.

Last week i got in touch with him and he gave me highlights of his EP No Apologies and he said, ” It is under construction, Nase is still working on tracks like Aphrodite and uh Kamikaze visuals are ready. Em just waiting for the appropriate time” He surely has so much going on to follow his debut mixtape. I watched the final work on Kamikaze video, i must say wait for the splendid visuals!

‘It would be more inspiring AJO if you released a project this month’ i hoped to tell him.

In case you didn’t get to hear the mixtape it is at the bottom of this paragraph and important tracks on that tape are: Back down, Victim, Recognize, Trip and Impossible for that’s where he has his best performance as a lyricist.

Hope you recognize

DOWNLOAD RMIS