If there’s an artist who deserves to be in your library, it’s Pettros. I never pick favorites due to my position here at UH, but if I had a horse in this race my money would be on Pettros. This guy is the full package — producer, singer, rapper, song-writer — you name it, he does it. Having only discovered him when Blackbear shot us their latest collab, I’m ashamed to say we were snoozing for far too long, but proud to say that we’re no longer sleeping on this Boston-based prodigy.
‘Creepin’ is a self-produced gem that showcases a slower, more organic sound than some of his older material. Reverb heavy guitar rifts, distorted piano progressions, a soothing bass line, muffled brass sections, and airy percussion culminate into an edgy instrumental complete with a resounding guitar solo and multiple breakdowns.
Despite how immaculate his performance was behind the keys, the highlight of this song is his vocals. His diverse delivery, sensual singing voice, and intentionally quotable lyrics create a vibe that’s unparalleled by any other musician in the game right now. No matter who you are or what your genre preference is, I guarantee you this song will have you nodding along. Check it out and be sure to show Pettros some love on Soundcloud and Twitter before the industry realizes how talented he is.
Even though he just dropped his debut mixtape Twenty Two a week ago, Jeremiah Taylor couldn’t stay out of the booth. When I wrote up his project I mentioned the outro, ‘Blank’, as being one of my favorite tracks. The direction he went with that song was so fitting to his delivery style that I couldn’t see him taking his music in any other route. So needless to say, when he sent me ‘Games’ I was hopping for a similar outcome.
The song starts out slow, but evolves into an ambient room-filling single about girls who play games. I’m sure you’ve encountered a girl like this before, and if not the chances are that you either are this girl or you simply don’t get out enough. Jeremiah kicks things off with an enticing hook calling for this girl who’s been scheming, and eases into a verse that expands on the situation; she’s beautiful, but she’s more concerned with drugs, money, and fame than anything else. She’s not loyal, but she’s addictive, and as the saying goes: you always want what you can’t have.
After Jeremiah dropped his mixtape I told him he should let the wave ride for a little bit and let the project gain some traction before dropping new material, but after hearing this I understand why he wanted to keep moving forward. The project is a staple that people can refer to for his versatility, but his new material has a distinct style that he wants people to associate with him. He found his sound, and now he just needs to build a brand around that. If you like what you hear do yourself a favor and follow the LA-based singer and songwriter on Soundcloud and Twitter.
Portland has slowly but surely been growing it’s hip-hop scene, and it’s artists like Matt Burton that have been bridging the gap for the city, combining their traditional indie-folk style with his own to create a new-wave of rapping. This track he just did with another Portland native, Punchie, is by far the most genre-specific song he’s released yet — it’s an auto-tuned trap anthem through and through, and they nailed it.
The song starts with the artists reciting their zip code, 97005, which is actually the zip for the Portland suburb of Beaverton, Orgeon. It’s kind of ironic, especially when you categorize Portland as a city full of hipsters, that these guys from the suburbs are dropping such a hard track about catching bodies and having unmatched flows, but all prior-knowledge aside, it’s a good song. The beat is simple, the lyrics aren’t anything too special, but it’s vibey. The hypnotic synth pads, panning from side to side as the song progresses, make an easy instrumental for these two artists to flow over.
This definitely isn’t the Matt Burton we grew to love on Backwoods and BMWs, the melodic singing and introspective lyrics seem to have faded, if only for a moment. Personally, I think the sound Matt Burton comprised in his early career was more unique and personal than this, but every song has it’s audience. If you’re feeling it be sure to throw Matt a follow on Soundcloud and Twitter to show some support.
If you’re a music buff like me, the first thought that comes to mind when you hear the name “Eddy Calvert” is the world renowned award-winning trumpet player Eddie Calvert, who was the inspiration for greats like Miles Davis and Louis Armstrong. There’s your University Hype history lesson for the day, so with that being said, Eddy Calvert is the furthest thing from a trumpeter. He’s a Tory Lanez-esque singer and producer from the UK.
Although a lot of his material is self-produced, this song was produced by London based ZXPH XLLXS, who I know surprisingly little about — moreover, it doesn’t help that he has literally no songs on his soundcloud, but somehow he has accrued 6,000+ followers. With that being said, this song ‘Nobody’ has been blowing up over the past couple of weeks. Its dark, eerie ambiance is comprised of complex symphonic arrangements, panning arpeggiated instruments, and an intriguing two-part style that showcases a little bit of chopped and screwed production.
Eddy hasn’t released much info about himself; he’s taken the route of covering his face from pictures in an attempt to draw in fans with his mysterious aura, and it’s working out pretty well for him so far. With that being said however, the best way to understand an artist is through their music, and he’s simply eliminated all other options so that the only way you can understand Eddy Calvert is by listening to his art. It’s a good strategy, and if you’re intrigued you should check him out on Soundcloud, Twitter, and Instagram.
I didn’t really appreciate Future as a musician until he dropped his album ‘Honest’ in 2014, and one of the project’s best songs was his single Covered In Money. It’s still an iconic song, one that represents this artist’s sound and lifestyle through it’s grind-centered connotations and big-room ATL production from Sonny Digital. It’s a trap anthem, which might be a turn off for some of our less amicable followers, but Misogi’s remix helps bring the song’s melodic qualities to the forefront.
It’s true that trap music seems shallow on the surface, but if there’s one thing that Future has taught us as an artist, it’s that there’s pain and emotion hidden under these seemingly superficial lyrics. I don’t know if you heard the acoustic rendition he released of No Basic, but it’s a slightly slower piano-based version that’s soulful enough to make even his biggest haters applaud. That’s how I see remixes; they’re not necessarily “original”, but they help you see songs in a new light and make trap artists like Future palatable for all types of listeners. This remix of ‘Covered In Money’ incorporates the best of both artists; a simple piano progression, airy synths, and crisp percussion loops scattered with creative sampling put the world renowned lean-sipping rapper in an ethereal atmosphere — one that is surprisingly fitting.
Check it out, download if you like what you hear. Future shouldn’t be a new name for y’all, but if you aren’t following Misogi on Soundcloud and Twitter already you should definitely show him some love.
I stumbled across Isaac Gracie the other day, and despite all of his material being bedroom recordings, his music captivated me. He has this song Last Words, which was the first song on his Soundcloud account, and with no promotion whatsoever he managed to accrue over 100,000 plays purely off of its uniqueness. The elegiac sound that he’s cultivated in his London apartment is so packed with emotion that I just couldn’t pass on sharing it with y’all.
So I shot Isaac an e-mail and asked if we could share one of the songs off of his debut EP Songs From My Bedroom, and within minutes he got back to me and gave me the green light to post ‘Terrified’. This track, like all of the material on his project, is simply him and an acoustic guitar. The overwhelming sense of sadness that you can hear in Isaac’s voice is haunting, and the under-produced sound somehow makes it more authentic and relatable. He sings about the hole of self destruction that he’s fallen into, the battle within himself to grow from a scared boy to a strong man, and the evocative idea that maybe he “wasn’t cut out for this”.
If you find some kind of solace in this song, do Isaac Gracie a favor. Show him some love on Soundcloud and cop his project on iTunes if you’re feeling it.
Willis has been making music for about 2 years now, but unfortunately this is the first time he’s been on our site. ‘Ridin Slow’ luckily caught our eye while looking for new music, and we are already excited to add him to our repertoire and see what he puts out next.
This track starts with a euphoric whirring that slowly turns into a the start of beat before the drums kick in. Willis’ voice and the soothing oriental strings come in together to mesh themselves between the sound of the drums. At this point in the track the strings takeover as the background while the drums start to change their beat into something faster paced for the verse. He continues to match this fast hi-hat and untraditional bass drum as they change their tempo.
‘Ridin Slow’ is a song about keeping momentum, flexing in the most humble of ways, and dreaming of late night drives under changing city lights and winning grammy’s with his team.
Willis’ delivery over this otherwise awkward beat is nothing less than phenomenal. This song makes the perfect backtrack for your smoke session or midnight cruise, and if you like his sound and want to see some of his other projects follow his Soundcloud and check him out on Twitter.
Be honest, what’s the last time you heard a T-Pain song? When this came up on my feed, I thought it was some new indie artist who was trying to brand himself under the former Florida pop star’s name — until I hit play that is. Believe it or not, T-Pain is back with a surprisingly catchy new single for the masses.
I always thought this artist was a little bit comical; his auto-tuned vocals, poor fashion choices, and popularity among white high schoolers always made me a little hesitant when listening to his music. That being said, I can’t deny the fact that every hook T-Pain delivers is melodious and memorable. He has a talent for turning otherwise basic lyrics into a symphony of quotable sounds, and for getting any kind of club dancing, jumping, and popping off.
‘Look At Me’ is a song for the girls with their faces in their phones. You know the kind I’m talking about: the girls who take selfie videos on snapchat and just stare at you awkwardly while they move the phone around their face to try and find the best angle of their duck lips/cleavage. When you’re as rich as T-Pain, there’s no reason you should put up with that shit, hence the chorus “look at me, look at me.”
It’s a catchy song by an artist who’s notorious for his club bangers, so don’t pass it up. Throw T-Pain a follow on Soundcloud and Twitter to show some love.
Marc is still on his groovy acoustic kick, and although I can’t speak for everyone, I love it. The R&B singer has been getting mixed feedback about his transition; many people who know him for his work with 2AM Club, or with rappers like G-Eazy and Skizzy Mars are unsatisfied with the switch up. I think it’s important to keep an open mind when listening to new music, and versatility should never be barraged or shunned.
‘Having Fun’ has accrued just shy of 1,000,000 plays since it’s release two weeks ago, which is by far the fastest that any of his original songs has taken off. The beat starts off with an acoustic guitar chord progression layered underneath some female vocal samples, which leads into a slowly building a drum line as Marc sings his first verse. The watered down claps and cymbals keep the instrumental splashy until about 2:13, where the beat tightens up and Marc spits a few bars for his hip-hop fans.
This song is about the highs that fade away, the numbness that comes with success, and addressing the elephant in the room as to whether or not everyone’s actually still having fun, or just partying out of habit. It’s a deep song, and certainly one that you can empathize with. Show Marc some love on Soundcloud, Twitter, and Instagram if you like what you hear.
It’s been a long time since I’ve heard new material from Ace Hood, but hopefully he’s still relevant enough to where I don’t need to introduce him to y’all — he’s the one who’s single, Bugatti feat. Future and Rick Ross, blew up way back in 2013. That being said, he hasn’t done too much since then. He dropped the fourth installation of his Starvation series, as well as a project called ‘Beast Mix’ which was taken down from basically every streaming service because it recycled instrumentals from billboard charting songs.
‘The Type’ features production from Murder Beats, and is basically just two and a half minutes of Ace Hood killing bar after bar. We’ve always thought Ace was an underrated artist who’s shine faded with his hit single, and hopefully this is evidence that 2016 will be the year he comes back into the game swinging. He raps about his designer lifestyle, the day-to-day hustle, keeping it real, and pushing himself to go and get what’s coming to him.
Regardless of what “type” you are, if you like clever lyrics and expert delivery this track will have you vibing. Check it out and be sure to throw Ace Hood a follow on Soundcloud and Twitter if you like what you hear.