Some artists arrive at hip-hop later. 5thletter never left it.

Growing up in Connecticut, he fell in love with the genre early—the craft of putting words together, the feedback from listeners, the feeling that the music could mean something. More than twenty years later, that same drive still fuels him.

His catalog prioritizes lyricism and narrative over trend-chasing. In a landscape that often prizes novelty, 5thletter treats authenticity as non-negotiable. The result is music that feels connected to the culture that raised him rather than the one currently dominating playlists.

He has linked with established names including J-Hood (D-Block), ElCamino, and Fuego Base (Black Soprano Family). His current standout, “PRAY FOR U.S.,” has generated the strongest response of his career so far. A new visual for the track is in preparation as he sets his sights on one million YouTube views.

Two decades in, the mission remains the same: keep creating, keep connecting, and keep the standard high.

https://linktr.ee/real5thletter?

With years of releases and collaborations behind him, the independent hip hop artist continues expanding his catalog and introducing his sound to new audiences.

New Orleans has produced generations of artists who understand the importance of individuality, storytelling and staying connected to their roots. Smizz is continuing that tradition in his own way, steadily developing a catalog and expanding his presence as an independent hip hop artist.

Smizz’s career reflects consistency rather than an overnight arrival. His current catalog stretches across several years, with releases including Nobody Safe in 2020, Twenty-4 in 2022, The Block in 2023, No

Sunshine and Better in 2024, followed by Forbes list and Everybody Eats in 2025. In February 2026, he returned with his latest single, Dope.

That consistency is helping introduce Smizz to listeners beyond his home city. In June 2026, he was the focus of an episode of Hottest in the Hood, titled “SMIZZ (NEW ORLEANS to PROVIDENCE).” The feature documented another stage in his journey as his name and music continue reaching audiences in different markets.

But Smizz’s connection to the music industry goes back considerably further than his recent releases.

In 2016, Smizz appeared alongside Mal DiBiase on Young Roddy’s “Tale of 3kings,” featured on the album Good Sense 3. The collaboration remains listed among Smizz’s songs on Apple Music a decade later. His catalog also includes additional collaborations with Young Roddy, including “For Them Days,”“Blood”and

“Bag Talk” from the 2018 project Face the World.

Those records add an important layer to Smizz’s story. While newer listeners may be discovering him through his recent music and digital presence, his history shows an artist who has been connected to music for years and is now entering another phase of his career.

Smizz is not starting from scratch. He is building on a foundation that has already been years in the making.

What makes Smizz’s current run interesting is the progression. There has been new solo material released every year since 2022, creating a catalog that allows listeners to hear his development in real time. Rather than relying solely on past collaborations, he has continued putting his own name at the forefront.

His latest record, Dope, represents the newest chapter. Released February 7, 2026, the single follows Everybody Eats and Forbes list, both released in 2025.

For an artist coming from New Orleans, a city whose influence on hip hop is impossible to overlook, carving

out an individual identity is essential. Smizz appears focused on doing exactly that. His story combines

SMIZZ | ARTIST FEATURE | 1 years of experience with the momentum of an artist who is still building.

The Hottest in the Hood feature connecting New Orleans and Providence also points toward something larger about his trajectory. His story is no longer confined to one city. As his catalog expands and his

visibility continues to develop, Smizz has an opportunity to introduce himself to an entirely new group of listeners.

After years of recording, collaborations and independent releases, Smizz is not starting from scratch. He is building on a foundation that has already been years in the making.

And with Dope serving as his latest release, 2026 could represent an important next chapter in that journey.

FOLLOW & LISTEN

Instagram: @s_m_i_z_z

UnitedMasters: unitedmasters.com/a/smizz

SMIZZ | ARTIST FEATURE | 2

Devangana Mishra, is a writer, artist and educator and  the Founder of Brain Bristle, a non profit for autism and inclusion.

Writing may be the clearest form of expression, close to song, second to prayer. To write well becomes a responsibility for those who choose writing as a career of choice. Below is my list of ideas for budding writers. Such lists have been written in the plenty, but each writer brings their own wisdom. Here is mine, a few things that I recommend would help in the act of writing well, and for sustainably long:

1.Engrossment at task is where creativity grows. Most writers give up too early or try to get their work out there too soon. The latter is understandable, spring blossoms begin in January, the former not so much.

For each work of art, curriculum, fiction or poetry it takes me a lot of undoing of my own build or dictum to let true voices emerge. When you write fiction or non fiction, no amount of learning feels good enough for it and when you write from one’s own pool of experience, no amount of craft learned seems good enough & learning always leads to a pull between surety and self-loathing so to learn to make alliance with that duality becomes necessary.. 

And then even with knowledge nudging you to create, it takes a while to get into the flow of the tedious, minutiae, brain busting work of writing. There are pulls away, with reasons ranging from ‘this writing’ not being important enough, a lack of surety of takers, the hesitation of jumping into this void. A hundred steps into the dark could end in nowhere, not even an echo. But the more you move into that ether, the more it becomes your only medium to find a way back. It becomes your body, without which you are a particle in a vacuum. So you must put in the work toward the task, the daily grinding of words picked for sentences, ideas to structures, until there can be no replacement for this production. It takes a long, gruelling time to truly become a writer from within.

2. Good writing is good thinking. Like the fire bricks of a tall building. Some of the greatest thinking our world has done is owed to our writers. We wouldn’t have vivid images for ‘friendship as witness of one another’ or ‘love as the step away from fear, to choose love is to move against all forces of alienation and separation’…if not for writers.

We need good writing to put the arbitrary to ways of realization. Good writing should make us nervous. Such is the ingrained power of art.

3 It’s important to remove manmade deadlines that may cage creation, but we must bear the combative pressure of ‘this is my chosen work, I must diligently move pen to paper’. This tug of war helps writers rest their thinking, but equally keeps them exerting toward better, toward more, toward refined, even when no one is asking. Your work is your literary voice. To keep finding ways to practice it to fruition. As a new novelist, it can take anywhere between one to three years for your work to see light because of the mechanics of the publishing industry. In the meanwhile, keep honing your craft. Write small works. Test forms. Practice variety. Put yourself to the discipline of it as ritual. Move your fingers to the rigour, beat, keenness, intensity and grind of what the written word can do that nothing else can. Tune yourself to the sound of clear sentences, so each day language comes a few inches closer to you, and closer to your reader.

4 To keep consuming, reading and learning from noted, excellent and experimental works as common writing wisdom known. There’s no shortcut to good learning, from words and worlds known and unknown as the oxygen to thrive on.

Reading well allows us to understand form, rhythm, and the geography of the literary landscape. But to create well and abundantly from all we know, distinctly, deliberately, is the root of what we contribute as writers. There are millions of readers in the world growing their own tall plants with their read consumption. As writers, we must read as a writer, and then put that very specific art form to practice, with clarity, substance, joy, sound, beauty and credence. 

An empty page should call you to write. 

5 Loving the power of this common grass-like growth is an immensely important act, even when there might be a hundred other pressing ways to create, to choose this. Choosing writing is like choosing a lover. You choose them every day. You choose them to your highest knowledge, on the bad days and the good ones, in sorrow and in joy.

To choose writing is to commit to this, from a hundred other ways of contributing to the world. To love it wholly becomes duty and dictum. Like a soulmate, or a partner in bed and bind, across holy vows, seven circles of sacred promise and literary chastity until death does you aside.

6 Draft one to many will all look good to you when you’ve written them, but assume them unkempt, amateur. It is only after reading it a few times and those first many drafts, and more, that we begin to find our liked writer’s voice. Even as I write almost daily, I am still not sure if this is yet my liked, most deeply thought out work.

Think of times when you look at photographs of yourself from when you were thirteen or sixteen, scrawny, wild and pimpled, and you felt sure of yourself, but now you laugh. Looking back at your old writing from drafts one to many should be like that and should continue for long.

7 Be proud as a writer. Wear a badge saying, ‘I AM A WRITER’, then keep working until you meet the roundness, integrity and dimensions of that badge. Louder industries can gulp little letters if we let them. To make your writing loud enough to be seen as integral human creation, in a world trying to mechanize everything from love to art, is a huge endeavour.

To confidently wear that coat, with a small lapel pin that has your name tag, writer, on it, takes time. Don’t get lost in the crowd. Keep working your way until that grey tag is found.

James Baldwin, Susan Sontag, Joan Didion, Ocean Vuong, Stephen King, Sidney Sheldon were only but writers. No machine can take that legacy away. To keep asserting body to lyric, to shapes and sceneries that properly fit your thinking, is your gate pass into this writer’s room. Keep striving until you are allowed into this sacred space of few. And once you are there, I believe, there is nowhere else in the world you would rather go.

A TIKTOK ACCOUNT MAKING ITS MARK

In the fast-moving world of TikTok, where millions of videos are watched every day, building a successful presence takes creativity, consistency and the ability to capture people’s attention.

One account continuing to build its presence is Xavi3000_the_great, the TikTok account associated with Xavi3000. The account has now accumulated an impressive 99.9K total views on TikTok — and counting, putting it within touching distance of the major 100K-view milestone.

99.9K VIEWS — AND COUNTING

Reaching 99.9K total views is a significant achievement for a growing TikTok account. It means that content published through Xavi3000_the_great has collectively attracted almost 100,000 views on the platform. That figure is particularly encouraging because the journey is still continuing.

Every new piece of content creates another opportunity to reach viewers, introduce the account to new audiences and push the overall view count higher.

THE ROAD TO 100K

The next major milestone is now clearly in sight:
100,000 TOTAL VIEWS
With the account sitting at 99.9K views, Xavi3000_the_great is incredibly close to reaching six figures.

Crossing 100K would represent another important chapter in the account’s TikTok journey and provide a strong platform for future growth.
But perhaps the most exciting part is that 99.9K isn’t the end of the story — it’s another step forward.

XAVI3000_THE_GREAT IS DOING WELL

The growing view total provides an encouraging indication that Xavi3000_the_great is doing well as a TikTok presence. In a platform filled with creators and constantly changing content, reaching nearly 100,000 cumulative views shows that the account has already managed to attract meaningful attention. The challenge now is to maintain that momentum.

Continued creativity, regular content and engagement with viewers can help the account build on the progress it has already made.

THIS IS ABOUT THE ACCOUNT’S OVERALL SUCCESS

It is important to separate the 99.9K total TikTok views from the performance of any individual song. The 99.9K figure is being highlighted as a milestone for the Xavi3000_the_great TikTok account overall. It represents the accumulated views across the account rather than being presented as a measurement of how well one particular track has performed.

“FRIEND IN ME” — A SONG TO WATCH.

XAVI3000_THE_GREAT — THE JOURNEY CONTINUES.

Emerging artist ZKY is continuing to build momentum with his single “Jazmin,” a release that gives listeners another look into his developing sound and artistic direction.

“Jazmin” finds ZKY bringing his own energy and personality to the record, creating a track designed to connect with listeners while showing what separates him from the growing field of new artists. The record serves as a strong introduction for anyone just discovering ZKY and another addition to his catalog for those already following his movement.

As independent artists continue to use streaming platforms and social media to expand their audiences, ZKY is positioning himself as a name worth keeping on the radar. “Jazmin” represents another step forward as he works to grow his fanbase and establish his presence in the music industry.

With more eyes turning toward emerging talent, the next moves from ZKY will be important to watch. For now, listeners can tap into “Jazmin” and get familiar with what he has to offer.

Stream ZKY’s “Jazmin” now on Spotify and all available streaming platforms.

Stay tuned to HipHopSince1987 for more new music and emerging artist coverage.

Produced by Kemar McGregor, the cross-genre project features global stars such as Snoop Dogg, Rick Ross, T.I., Ashanti, Mýa, Rotimi, Lola Brooke and Stefflon Don, alongside Jamaican icons Vanessa Bling, Shaneil Muir, Kraff, Elephant Man, and more.

After more than three decades of shaping the sound, culture and global reach of dancehall and reggae, Grammy Award-winning global superstar Beenie Man continues to expand his musical legacy with Eminence, a powerful 16-track album that bridges dancehall, reggae, hip-hop and R&B while remaining firmly grounded in the Jamaican sound and culture that have defined his career.

What began as a few tracks evolved into an entire album as Beenie Man and producer Kemar McGregor, aka The Billboard King, continued recording and developing the material. “As we continued recording and developing the songs, what started as a few tracks grew into something much bigger,” Beenie Man says. “That creative chemistry ultimately led me to trust him with producing the entire album, making ‘Eminence’ one of the most distinctive projects I’ve created in my career this far.” Crafted over a year and a half, the album was recorded across Fort Lauderdale, Atlanta, Los Angeles, Las Vegas, New York and Kingston, reflecting the expansive creative journey behind the project.

The collaborative force in Eminence comes into full force on “876/305,” an infectious, head-turning opener driven by a classic sample flip. Beenie Man and Rick Ross trade cross-continental bars, drawing a direct line from Jamaica to Miami, while Rènata Crista Hunt rounds out the track with captivating vocals. That energy flows into the hypnotic, slow-wine rhythm of “Don’t Rush,” pairing Mýa’s silky R&B melodies with Beenie Man’s relaxed flow over a heavy, rolling bassline. Powered by a fast-paced rhythm, “Do It” sees Brooklyn’s own Lola Brooke bring mainstage grit and a ferocious cadence alongside Beenie Man, seamlessly bridging Brooklyn hip-hop and Kingston dancehall. “For You” fuses West Coast G-Funk with authentic dancehall as Beenie Man and Snoop Dogg trade their signature cadences over a sub-heavy, syncopated riddim. The posse cut brings together Stefflon Don, Elephant Man, D’Yani, Shaneil Muir, Tifa, Vanessa Bling, Kraff and Pamputtae, delivering a dynamic mix of rapid-fire toasts and smooth melodies centered on fierce devotion. “Make Out” offers a sleek, sun-soaked meeting of R&B and dancehall, bringing R&B royalty Ashanti together with Atlanta icon T.I. Anchored by Ashanti’s timeless, velvet-toned hook, T.I. slides through with effortless Southern swagger, bridging 2000s hip-hop nostalgia with Beenie Man’s dancehall authority over buoyant, island-infused production. On “Hat Tip,” Rotimi delivers a soaring, soulful hook alongside Beenie Man’s reflective dancehall toasts and Rick Ross’s commanding, introspective verses, turning the track into a powerful statement of faith, resilience and perseverance. The album also draws on Jamaica’s rich vocal tradition, with acclaimed reggae singer Etana and veteran vocalist Stevie Face adding soulful dimension to the project.

The arrival of Eminence comes at a defining moment for Beenie Man, whose influence continues to resonate across Jamaica and the global music landscape. In 2024, the undisputed “King of Dancehall” was conferred with the prestigious Order of Distinction (Officer Class) by the Jamaican government during the National Honours and Awards ceremony, recognizing his foundational, decades-long contributions to global music. His recent live return has been equally significant, highlighted by a historic sold-out headlining performance at New York’s UBS Arena in 2025, his first major New York arena show in more than a decade, followed by a landmark appearance at Brooklyn’s Barclays Center in 2026. He has also headlined Florida’s Grace Jamaican Jerk Festival, Reggae in the Park Delaware, his own Summa Sizzle Fest, and the 64th Jamaican Independence Celebration.

Beenie Man reflects: “‘Eminence’ represents my longevity, experience, and influence within dancehall and reggae over the past three decades. Throughout my career, I’ve been able to take Jamaican music around the world, and this album represents another stage in that journey. ‘Eminence’ reflects the legacy I’ve built while showing that I’m continuing to grow, experiment, and push my music into new spaces.”

Eminence is available on all major digital streaming platforms worldwide via Billboard King Records.

TRACKLISTING:

1. 305/876 (FEAT. RICK ROSS & RÈNATA)
2. DON’T RUSH (FEAT. MÝA)
3. DO IT (FEAT. LOLA BROOKE)
4. GUIDE OVER US (FEAT. ETANA)
5. IMMORTAL
6. BANDS
7. SHE’S A GOOD GIRL
8. DOLL
9. FOR YOU (FEAT. SNOOP DOGG, ELEPHANT MAN, D’YANI, SHANEIL MUIR, TIFA, VANESSA BLING, STEFFLON DON, KRAFF & PAMPUTTAE)
10. IF I FOLLOW MY HEART (FEAT. STEVIE FACE)
11. MARIJUANA IN THE KOUCHIE
12. FRIENDS FOR LIFE
13. KINGSTEPPA
14. MAKE OUT (FEAT. ASHANTI & T.I.)
15. HAT TIP (FEAT. RICK ROSS & ROTIMI)
16. HEAVENLY FATHER

ABOUT BEENIE MAN:

Born Anthony Moses Davis in the Waterhouse section of Kingston, Jamaica, Grammy Award-winning global superstar Beenie Man is recognized worldwide as the undisputed “King of the Dancehall”. A child prodigy who began toasting at age eight under the guidance of his uncle Sydney Wolf (percussionist for Jimmy Cliff), he rose to early fame before dominating Jamaican sound-system culture with hit singles throughout the 1990s. His 1997 breakthrough hit “Who Am I?” topped the Billboard Reggae chart, cracked the U.S. Rap Top 10, and earned British pop chart acclaim, cementing his role as a premier ambassador for Caribbean music. 

Over a four-decade career defined by sonic evolution, Beenie Man has seamlessly fused dancehall with hip-hop, R&B, techno, and Latin rhythms. His extensive catalog includes classic albums Many Moods of Moses, Doctor, and his critically acclaimed Virgin Records release Art & Life, which won the 2000 Grammy Award for Best Reggae Album. Honored with a record-setting seven International Reggae and World Music Awards, ASCAP Songwriter Awards, and MOBO Awards, Beenie Man’s enduring legacy was formally recognized by the Jamaican government in 2024 with the prestigious Order of Distinction (Officer Class). Today, he continues to sell out arenas globally and push the boundaries of Jamaican music into new creative spaces.

INSTAGRAM | FACEBOOK | TIKTOK | X

ABOUT KEMAR MCGREGOR:

Kemar McGregor “The Billboard King” is an acclaimed Jamaican-American music producer, songwriter, and CEO of FM Records. Renowned as a pioneer of the modern pop-reggae movement, McGregor has spent over two decades producing hit records and multi-platinum tracks that seamlessly blend traditional roots reggae and dancehall with mainstream pop, R&B, and hip-hop. His extensive production portfolio features collaborations with some of the industry’s biggest global icons, including Snoop Dogg, Sinéad O’Connor, Musiq Soulchild, Rick Ross, and Gyptian. Boasting multiple number-one albums on the Billboard Reggae charts, consecutive JUNO Award nominations, and millions of records sold worldwide, McGregor remains one of the most influential and chart-dominant forces in contemporary reggae music.

INSTAGRAM | FACEBOOK

NEW DELHI, INDIA — In an era dominated by temporary trends, independent music producer and recording artist Rubal Kanojia, professionally known as The Bass Maker India, stands out for his extraordinary versatility and refusal to stay boxed in a single genre. Spanning a decade-long journey of intense personal struggle starting back in 2016, self-taught audio engineering, and juggling a demanding full-time accounting career with late-night studio sessions, the producer is finally ready to unleash his most personal work yet: the upcoming Fast Emo-Rap single “Broken Home,” releasing globally on August 21st.

A Decade of Resilience: The 2016–2026 Evolution

The story of The Bass Maker India is a masterclass in artistic adaptation, perseverance, and relentless experimentation. Beginning his musical hustle in 2016, he spent years grinding in silence, teaching himself complex sound engineering and music production from scratch. His production officially hit streaming platforms in November 2020 with heavy EDM Trance tracks like “I’m Selfish”—featuring high-energy Skrillex-inspired drops—followed by workout anthems like “Sexy Lady” and seasonal Halloween Trance releases. Undeterred by initial industry hurdles, he continued testing sound boundaries until his fusion experiment, “Arabian Music (Arab Tour),” blew up organically, becoming a widespread viral background sound across TikTok videos and shorts.

Refusing to settle on one formula, he expanded into Indian Hindi Rap with tracks like “Todh” and “Daku.” Driven by a passion to innovate, he created a signature fusion sub-genre: Classical 808s—blending heavy 808 sub-bass and crisp modern trap drums with traditional Indian classical instruments like the Sitar and Harmonium. This birthed powerful devotional anthems such as his highly acclaimed version of “Hanuman Chalisa” and “Bajrang Baan.” Each genre shift over this decade-long journey was not a surrender, but a crucial stepping stone toward mastering sound design across electronic, hip-hop, and atmospheric spectrums.

Inside the Sound: ‘Broken Home’ (Dropping August 21st)

Scheduled for release on August 21st, “Broken Home” marks his official transition into the realm of Fast English Emo-Rap. The track fuses dark atmospheric synths, heavy basslines, and dense, fast-cadence rap verses that address deep betrayal, resilience, and personal rebirth. Delivered with deep chest aggression and melancholic melodies, the single offers a raw, unfiltered look into surviving emotional wreckage.

“Every genre I explored since 2016—from Trance to Devotional 808s—built the foundation for where I am today,” states The Bass Maker India. “Broken Home is an authentic audio diary of confronting betrayals and rebuilding yourself from scratch. With the blessings of Lord Narayan and Goddess Lakshmi, I believe this track will deeply resonate with listeners worldwide.”

Simultaneously, the prolific producer is already deep in production for his next follow-up single, “Silent Souls,” promising an even deeper exploration into atmospheric emo-rap territory.

Building an Independent Legacy

With an expanding digital footprint across Instagram, YouTube, and major streaming platforms, The Bass Maker India continues to build a loyal global fanbase that values raw authenticity over manufactured commercialism. His 10-year independent journey proves that artists from India can master diverse global genres while maintaining complete creative control. As the August 21st release date approaches, pre-saves and promotional teasers for Broken Home are gathering significant momentum on Spotify, Apple Music, and YouTube.

ABOUT THE BASS MAKER INDIA The Bass Maker India is an independent music producer, audio engineer, and hip-hop recording artist based in India. Active since 2016, he is known for his decade-long genre-spanning career across EDM, Arabian Trap, Devotional 808s, and Fast Emo-Rap.

CONNECT WITH THE BASS MAKER INDIA:

• Official Pre-Save Link: https://distrokid.com/hyperfollow/thebassmakerindia/broken-home-feat-rubal-kanojia/
• Spotify Profile: https://open.spotify.com/artist/2LDq8DnPKdko1MIehAdyNo?si=IBSXDWx3T1CXnSQpZWvcWQ
• Instagram: https://www.instagram.com/thebassmakerindia?igsh=MWozMXRkZTUyd2ZxZA%3D%3D&utm_source=qr
• YouTube: https://www.youtube.com/@thebassmakerindia

London, UK — Rising London Hip-Hop and R&B artist Xavi3000 is continuing to build momentum with his single “Thighs,” a confident and playful release that showcases another side of his developing sound.

Released on 10 September 2025, “Thighs” sees Xavi3000 leaning into a catchy, contemporary approach while maintaining the Hip-Hop and R&B influences that have become central to his music. The track is produced by phatlaced°, adding to the record’s modern feel.

The release has also been accompanied by an official music video, available through Xavi3000 TV on YouTube. Xavi3000 announced that the video was out alongside the single, giving listeners a visual counterpart to the track and extending the song beyond streaming platforms.
“Thighs” follows Xavi3000’s growing catalogue of releases and comes as the artist continues to establish his identity within the London music scene. His music has previously been described as blending Hip-Hop with R&B, while releases such as Choices & Sacrifices have highlighted his versatility as an emerging independent artist.

The new single also sits within an expanding catalogue that includes tracks such as “Pretty Miss,” “Lies,” “Cold Shoulder,” “Like This” and “On The Low (Remix).”

With “Thighs” now accompanied by its official visual, Xavi3000 is continuing to combine music and visual storytelling as he develops his presence and reaches new listeners.

“Thighs” by Xavi3000 is available across streaming platforms, with the official music video available on Xavi3000 TV.

• YouTube Channel

In a modern music landscape heavily dominated by polished with stupid AI digital plug-ins and formulaic streaming algorithms, true hip-hop purists constantly seek art with actual human soul and dirt under its fingernails.

Enter Southern California, New York-seasoned artist and producer MaddPropz. His 14-track project, The Boros, stands out as a masterclass in raw, uncompromising sonic fidelity.

A Self-Made Multi-Discipline Masterpiece
MaddPropz is a rare breed in the contemporary underground landscape.

He handles the tracking, engineering, and final execution completely independently.

The Boros acts as a bridge between bi-coastal sensibilities, merging West Coast tracking blocks with an unmistakable East Coast underground execution.

Rather than leaning on modern, sterile AI digital shortcuts, the entire record serves as a tribute to vintage tracking mechanics & Human Soul.

MaddPropz routes his heavy, weathered beats through pristine vacuum tube preamplifiers and rare magnetic tape.

This dedicated reliance on analog tape channels & Protools & BandLab infuses the album with a warm, tape-saturated grit that provides the perfect canvas for his dense lyricism.

Track Breakdown: Travel, Kiss Of Death, and Plot Control & 4 the Boros

Music Video:

The album operates as a cohesive sonic journey, but several tracks define its overarching thesis:

“Travel”: An atmospheric opener that relies on cinematic, dusty loops.

The track establishes the album’s nomadic theme, mirroring the artist’s own geographical evolution.

“Kiss Of Death”: A standout moment featuring razor-sharp cadence and a booming, minimalist bassline. The heavy vacuum-tube saturation cuts cleanly through the mix.

“Plot Control”: A masterclass in suspenseful arrangement. MaddPropz pairs complex rhyme schemes with an eerie, loop-driven backdrop that demands repeat listens. For those that Love The Knicks should also love the energy and message provided on this album it was originally a demo turned album

Where to Listen and Support
Stream :

Links below

https://officialmaddpropz.com/
https://linktr.ee/officialmaddpropz

Follow us On YouTube @maddpropz

Facebook Link : https://www.facebook.com/officialmaddpropz/

Florida Rapper MunYon Keeps Making Music From Prison

The Bradenton artist is serving a five-year sentence at Florida State Prison, but incarceration has not stopped his music. MunYon is recording verses by prison phone, building an unexpected audience behind the walls and preparing his sophomore album, The Hand I Was Dealt, for 2027.

For most artists, disappearing from the outside world for several years would bring a music career to a halt. Bradenton, Florida rapper MunYon is trying to prove otherwise.

Currently serving a five-year prison sentence for drug trafficking and gun possession, MunYon is incarcerated at Florida State Prison, the maximum-security institution near Raiford that houses Florida’s execution chamber and has long been associated with some of the state’s most notorious prisoners.

Serial killer Ted Bundy spent years on death row there before being executed at Florida State Prison in 1989. According to MunYon, Nikolas Cruz, the gunman responsible for the 2018 mass shooting at Marjory Stoneman Douglas High School in Parkland, is also housed at the prison.

He’s also sharing space with a slew of Florida rappers currently serving time on charges ranging from racketeering to drug possession, including SpotemGottem, 9lokknine, Y&R Mookey and Ksoo. In that environment, MunYon serves as a striking example of art imitating life.

It is an extreme environment in which to attempt to maintain a music career.

Yet while MunYon remains physically removed from Bradenton and the Florida rap scene that produced him, his music has continued circulating outside the prison — and, unusually, inside it as well.

MunYon’s catalog is available through prison tablets, meaning the people incarcerated alongside him can listen to the same records available to fans on the outside. In the process, prison itself has created an unexpected new audience for his music.

“Once they find out I’m a rapper—a serious rapper—most of them become fans of my music and want to know some of my rapper stories,” MunYon says. “Unless they’re a hater.”

It is a strange extension of a career rooted in Bradenton’s independent hip-hop scene and built through collaborations with artists including JEEPER$, Peso Peso, KirbLaGoop and members of the Florida-based DANGERHOUSE collective.

And even without access to a recording studio, MunYon has found ways to continue appearing on new music.

His latest contribution comes on “SONAR/RADAR,” a track from JEEPER$ and LORD VZA’s collaborative project GULLY SWAMP MUSIC, releasing August 21, 2026. MunYon recorded his verse over a prison phone, leaving the limitations and texture of the call intact rather than attempting to disguise the circumstances under which it was made.

The appearance makes MunYon the project’s only outside guest and provides a literal example of how his incarceration has become part of the sound of his current music. Rather than waiting until he is released to resume recording, MunYon is continuing to contribute however the circumstances allow.

Even from prison, he intends to keep expanding that catalog.

The Hand I Was Dealt

MunYon is currently preparing his sophomore album, The Hand I Was Dealt, for an April 1, 2027 release.

Featuring appearances from KING PILL, HowardTheGreat and Ebaby, the album is intended to give listeners a broader look at MunYon’s sound, versatility and experiences.

Its title has taken on additional meaning because of the circumstances surrounding its creation.

Rather than allowing incarceration to create a blank space in his discography, MunYon says he plans to release at least one album for every year he remains incarcerated, with help from his team on the outside and his DANGERHOUSE family.

Before the album arrives, he plans to release the single “Gone Til November” on February 8, 2027.

For MunYon, continuing to release music is one piece of a larger effort to keep moving forward while serving his sentence.

His days inside Florida State Prison, however, look very different from the life of a typical working artist.

A Day in the Life of an Artist and Inmate

Asked to describe an ordinary day inside the prison, MunYon laughs before beginning with one of the least glamorous realities of incarceration: breakfast.

“Well, first of all, they serve breakfast at 4:30 AM. 4:30!” he says.

MunYon admits he does not always make the early trip.

“Most times I only go to breakfast two days a week—coffee cake day and grits and gravy day, which is Wednesday and Thursday morning.”

Even getting to the dining hall can become part of the punishment.

“To go to breakfast, lunch or dinner, we have to walk way across the prison—pouring rain or scorching heat—just to eat,” he says.

After breakfast, MunYon typically returns to his dorm and sleeps until approximately 6:30 AM, when officers begin preparing the incarcerated population for work.

His own assignment is unusual.

MunYon works at the prison’s water treatment plant, where he says he is accumulating experience and hours toward eventually becoming a licensed water treatment plant operator.

“I work at the water treatment plant at the prison, which provides water to most of the town I’m in,” MunYon says. “I work at a plant gaining hours towards getting licensed as a water treatment plant operator.”

According to MunYon, only four people out of a prison population of roughly one thousand work at the plant.

“My job is dope as f***,” he says. “Only four out of about a thousand people work at the water plant. Most other inmates are doing things like cutting grass, doing farm labor or some other backbreaking punishment job. I was blessed to do what I do while incarcerated.”

His workday generally ends around 2 PM.

From there, his routine becomes a mixture of ordinary prison life, preparation for the future and whatever room remains for creativity.

“After work I go back to my dorm, shower, make my daily phone calls, then bullshit till dinner time,” MunYon says. “We eat dinner at about 5:30, then it’s back to my dorm where I study my water treatment books, sometimes write music or work on business plans I wrote, play a little chess, bullshit a little, maybe watch some TV, play games or write messages on my tablet.”

Some nights include cooking with the small group of friends he has made inside.

“Cook a goulash with the few homies I made, make goodnight calls, then go to sleep to repeat my day over and over,” he says.

For all the differences between his current reality and the life he lived outside prison, MunYon describes the repetition matter-of-factly.

“That’s pretty much how my days go,” he says. “My day, or pretty much anyone’s day who’s in my position, whether you’re P. Diddy or just an average Joe Schmoe.”

Music Beyond the Prison Walls

Prison has removed MunYon from the day-to-day activity of Florida’s independent rap scene, but it has not erased the catalog he built before entering the system.

His existing releases include “Big Dawg” featuring Texas rapper Peso Peso, “Dirty Pajamas” with JEEPER$ featuring KirbLaGoop, “Rumors In The City” and “Broken Home.”

He also shares a collaborative album with fellow Bradenton rapper JEEPER$.

Cult Status brought the two artists together for a project rooted in the same underground Florida rap community that continues to surround MunYon’s work during his incarceration.

That relationship has extended well beyond recording music. MunYon’s prison-phone appearance on “SONAR/RADAR” shows that the collaboration is continuing even with one artist inside Florida State Prison and the other working on the outside.

During a prison phone call, MunYon was asked what he wanted to say to the friends, family members and supporters who have continued following him throughout his sentence.

“Thank you from the bottom of my heart for all of y’all’s support,” MunYon says. “A big thank you to my brothers JEEPER$ and Sie Yung for always having my back. They been here every day of my bid. I love y’all boyz.”

And, naturally, MunYon used part of the opportunity to promote his music.

“Y’all go stream me and my brother JEEPER$’ joint album Cult Status, out now and available everywhere.”

He closed by turning his attention toward his family.

“Also shout out to my son and ma dukes. I love y’all. And free all my bros from the chaingang.”

For MunYon, the next several years will inevitably be defined in part by incarceration.

But prison has not completely separated him from the identity he built before entering it.

His records remain available. Other inmates discover his music through prison tablets. His team continues operating outside the walls. He is still finding ways to record new verses through a prison phone. He studies for a possible career in water treatment while simultaneously writing music, developing business plans and preparing future releases.

And when The Hand I Was Dealt arrives in 2027, it will document a period of MunYon’s career unlike anything that came before it: a Bradenton rapper attempting to remain an active participant in Florida hip-hop while experiencing that world almost entirely from behind prison walls.

Prison has changed where MunYon makes his plans.

So far, it has not stopped him from making them.

Louisiana’s own P.A.T., alongside Fiend aka Mr. International Jones, is gearing up for the exclusive release of their highly anticipated collaboration, “3 JONES,” produced by Grammy Award-winning producer Tone Jonez.

Set for an exclusive early release on LiveMixtapes.com, “3 JONES” is already generating significant anticipation among fans. The excitement has been amplified by a daily countdown campaign led by @INSTAPAT, featuring a series of striking photos announcing the release date.

“3 JONES” is scheduled to drop on September 11, adding even more significance to an already highly anticipated day—the beginning of the No Limit Cash Money Tour.

With P.A.T.’s Louisiana roots, Fiend’s veteran presence, and Tone Jonez’s Grammy-winning production credentials coming together, “3 JONES” promises to be a noteworthy release for Southern hip-hop fans.

As the countdown continues, anticipation is building toward September 11, when “3 JONES” officially arrives exclusively on LiveMixtapes.com.

Hip-hop has always communicated through more than sound.

Clothes, neighborhoods, album artwork, cars, dance, photography, typography, live performance, and music videos all contribute to how an artist is understood. Long before a listener studies every lyric, a visual can establish attitude, ambition, geography, personality, or mood.

That makes music-video production especially important for independent hip-hop artists.

The objective is not simply to make footage look expensive. Plenty of memorable visuals have been created with contained locations, lean crews, practical environments, and straightforward camera setups. What matters is whether the production choices feel connected to the record and the person performing it.

Expensive equipment cannot manufacture identity.

Clear creative decisions can protect it.

Here are ten production choices that help hip-hop artists turn a track into a visual world rather than another forgettable performance clip.

1. Build the Concept From the Artist, Not the Trend

Visual references are useful until they begin replacing identity.

Open almost any social feed and the same techniques appear repeatedly: dark warehouses, luxury vehicles, fisheye lenses, neon rooms, handheld street footage, rapid zooms, vintage textures, heavy film grain, elaborate transitions, or highly polished performance spaces.

None of those choices is inherently weak.

The problem begins when they have no relationship with the artist.

Start with the record.

What does the track reveal that listeners should also feel visually?

Aggressive production might call for tension and movement, but that does not automatically mean fast editing. Introspective lyrics may work inside an enormous landscape rather than a dark room. Regional identity may deserve to become part of the visual language instead of being hidden behind a generic studio set.

HipHopSince1987 recently highlighted Delhi-based studio MONTAGE and its approach to the visual language of India’s emerging hip-hop underground. The work described there leans into atmosphere, texture, practical locations, and realism rather than assuming spectacle is the only path to impact.

That distinction matters.

The strongest concept often feels like something only that artist could have made.

2. Let the Location Say Something

Hip-hop visuals have a long relationship with place.

Neighborhoods, corner stores, houses, rooftops, studios, basketball courts, parking lots, clubs, industrial areas, stages, and city streets can communicate context without a line of explanation.

Using a real environment, however, involves more than finding an attractive background.

Production still needs to understand where vehicles can stop, how equipment gets to set, whether public activity can be controlled, how much power is available, where the artist can change wardrobe, what ambient sound exists, and when access ends.

Music playback introduces another practical issue.

Residential locations or operating businesses may restrict volume. Public spaces can become unpredictable once crowds gather. Night locations may have strict closing times.

HipHopSince1987’s coverage of Poetic G’s “Thee Original” noted how the neighborhood itself supported the video’s connection to the music. That is the value of location when it works properly: the environment becomes part of the record’s personality rather than decoration.

Choose spaces for meaning, then scout them for reality.

3. Budget Around What the Audience Will Actually Feel

Limited budgets force useful questions.

Does the video really need four locations?

Will another vehicle create more impact than better lighting?

Does the second performance setup add something the first cannot?

Would one carefully designed room look stronger than three rushed locations?

Every additional idea creates operational consequences.

Location moves involve packing, loading, travel, parking, unloading, rebuilding camera systems, relighting, resetting talent, and getting everyone ready again.

That time comes out of the same day intended for performance.

Independent artists often gain more by concentrating resources.

One memorable environment, enough time to light it properly, strong wardrobe, thoughtful art direction, and controlled performance coverage can outperform a larger concept spread too thinly.

Spend where the viewer will notice the result.

4. Give Performance Enough Space to Become Believable

Music videos may use playback, but the performance still has to feel alive.

Artists need enough familiarity with camera position, movement, eyelines, physical marks, props, and choreography to perform rather than troubleshoot.

Close-up performance requires different energy from a full-body wide shot.

Direct eye contact can feel confrontational in one section of a song and overly aggressive in another. Moving through a location changes focus, lighting, and playback requirements. Group performance introduces continuity between takes.

Rehearse the technical structure before demanding emotional energy.

That does not mean scripting every movement.

It means removing enough uncertainty that the artist can stop thinking about production mechanics.

Performance becomes more convincing once the set stops feeling like a technical test.

5. Build the Crew Around the Idea

Crew requirements follow technique.

Lean street visuals can often work with small, mobile teams.

Complex choreography, moving vehicles, large lighting setups, controlled locations, multiple cast members, extensive art direction, specialized camera movement, or complicated post-production require more defined responsibilities.

Clarify who handles:

• Camera
• Focus
• Lighting
• Grip
• Playback
• Sound where needed
• Media and backups
• Production coordination
• Locations
• Wardrobe
• Hair and makeup
• Art direction
• Behind-the-scenes content

Equipment ownership also needs clarity.

Does the cinematographer’s quote include a camera package? Does the lighting team bring fixtures? Who provides wireless monitoring? How much media is included?

Projects using music video production planning can coordinate concept, filming requirements, crew, locations, and post-production around the visual direction instead of assembling each element without shared context.

Clear responsibility protects creative time.

6. Capture Coverage With Rhythm in Mind

Music gives editors a structure that other forms of video do not have.

Verses, hooks, ad-libs, beat changes, instrumental breaks, intros, and outros create natural opportunities for visual variation.

That does not mean cutting on every beat.

Constant rhythmic cutting can become predictable.

Editors need visual choices that let them decide when to follow the music and when to work against it.

Performance coverage might include:

• Full-song master takes
• Tight facial performance
• Profile angles
• Wide environmental frames
• Moving camera passes
• Hand details
• Wardrobe details
• Group reactions
• Location textures
• Narrative inserts
• Slow-motion moments where technically appropriate

Ask what each setup contributes before shooting it.

Extra footage only has value when it gives the edit another useful option.

7. Use Camera Movement With Intention

Hip-hop videos have room for aggressive visual technique.

Handheld movement, dollies, gimbals, zooms, low angles, high angles, rotating cameras, vehicle rigs, drones, and unconventional lenses can all create energy.

The tool still needs a reason.

Movement may make the performer feel larger than the environment. Static framing can create tension. Slow movement might pull the viewer deeper into an introspective verse. Wide lenses placed close to the performer can produce a completely different psychological effect from long lenses across the street.

Technique communicates.

Using every available technique at once usually communicates less.

Pick a visual grammar and allow selected moments to break it.

That contrast often gives the biggest shots more impact.

8. Plan the Video as Part of the Release, Not the End of It

The finished music video may be the hero asset, but it is rarely the only visual content an artist needs.

Release campaigns can also use:

• Vertical teasers
• Performance clips
• Behind-the-scenes footage
• Short interviews
• Cover artwork material
• Thumbnail frames
• Rehearsal footage
• Social edits
• Clean performance excerpts
• Tour or show visuals

HipHopSince1987’s recent Free Music Marketing Guide for Independent Artists makes a similar practical point: existing interviews, performances, music videos, rehearsals, studio footage, and songwriting material can support multiple pieces of promotional content rather than every post starting from zero.

Production should anticipate that ecosystem.

Tell the cinematographer which sequences need vertical versions.

Protect composition for alternate crops.

Capture a few clean shots without lyrics or campaign-specific graphics.

Record behind-the-scenes material deliberately rather than leaving it to whoever happens to have a phone nearby.

One shoot can create weeks of useful visual material when those outputs are planned.

9. Protect the Visuals With Real Production Discipline

Creative energy does not make footage invulnerable.

Cards fail.

Files get mislabeled.

Drives disappear.

The wrong take gets flagged.

Talent agreements fail to cover the intended distribution.

Locations contain artwork or branding nobody noticed during scouting.

Production discipline protects the work from these problems.

Before cards are formatted, footage needs verified backups.

Separate copies are safer than two drives traveling in the same bag.

Folder structures should identify camera, shoot day, location, and other useful information.

Post-production notes can identify preferred takes, technical problems, incomplete shots, or visual effects requirements.

Rights deserve the same attention.

Featured performers, recognizable background talent, private locations, artwork, photographs, archive material, and other protected elements may require permissions depending on the production and intended use.

The coolest shot in the edit has limited value if the team cannot confidently release it.

10. Think Globally Without Making the Artist Look Generic

Hip-hop crosses borders without losing the importance of place.

HipHopSince1987 has covered how Mohamed Ramadan combines Middle Eastern identity with visual language influenced by global hip-hop aesthetics, demonstrating how artists can participate in an international culture without erasing their own context. (hiphopsince1987.com)

That lesson applies directly to production.

Artists traveling for videos do not need to imitate the city where they are filming.

Locations, local crews, fashion, architecture, performers, production design, and regional creative communities can add new texture while the artist’s identity remains central.

International shoots introduce practical complications, though.

Equipment availability changes between markets. Permit systems differ. Local crew structures vary. Transportation estimates can be unreliable from a distance. Weather, language, access, and working practices all affect the schedule.

Projects requiring international production support can connect local crews, equipment, locations, permissions, logistics, filming, and post-production within a coordinated structure.

The objective is not to make every location feel interchangeable.

It is to give the creative team enough local knowledge to use each place intentionally.

Visual Identity Is Built Through Repetition

One strong video can attract attention.

Several visually connected releases can build recognition.

That does not mean every music video needs the same colors, location, director, or camera technique.

Consistency can exist at a deeper level.

Perhaps the artist repeatedly favors real environments over sets.

Maybe the visual language stays observational and intimate.

Another artist may build a world around fashion, controlled art direction, surreal imagery, or highly choreographed performance.

Audiences begin recognizing those decisions as part of the artist.

HipHopSince1987’s coverage of artists such as Nukiknowws has emphasized how cinematography, dark aesthetics, and immersive storytelling can strengthen the world around a release.

That is where music-video production moves beyond promotion.

It becomes brand memory without feeling like corporate branding.

The Video Should Make the Record Feel Bigger, Not Busier

Hip-hop visuals do not need to prove how much money was spent.

They need conviction.

The strongest videos know which details matter and which ones can disappear.

Concept protects identity.

Locations provide context.

Lighting creates mood.

Performance creates connection.

Crew structure protects execution.

Coverage gives the editor options.

Rights and backups protect the finished work.

Release planning gives the footage a longer life.

None of that requires a production to become oversized.

HipHopSince1987 has even published guidance for local musicians on producing their own music videos, emphasizing that artists can begin with simpler concepts and focus on storytelling rather than assuming high budgets are the only route to meaningful visuals. (hiphopsince1987.com)

That principle remains valuable at every budget level.

More resources create possibilities.

Clearer choices create identity.

The goal is not to make the audience think about the camera, the rental package, the production company, or how many people were standing behind the monitor.

The goal is to make the visuals feel inseparable from the record.

When that happens, the music video stops looking like content made to promote a song.

It starts feeling like part of the culture around it.

Yes, you can listen to SORRY4THEWAIT, but Mari Loadin wants listeners to FEEL SORRY4THEWAIT.

The 10 track project is rooted in a period of real life experiences. Though, what makes the project stand out is how naturally Mari allows those experiences to shape the music. The New York native moves through melody, introspection, confidence, aggression, and high energy production while maintaining a distinct identity throughout.

“I was going through a lot when I made SORRY4THEWAIT, and honestly I just wanted people to be able to feel something from it,” Loadin says. “Every song came from a real place or a real moment in my life.”

That honesty is evident without making the project feel overly heavy. Records like “PRBLMS” showcase Mari’s melodic abilities, with his vocals hovering between singing and rapping as he hums his way into the record, immediately pulling the listener closer. Elsewhere, “DREAMIN” demonstrates how intentional he can be with production. Even with its trap inspired foundation, the subdued drums contribute to an atmosphere that genuinely feels like a dream.

Then there are moments like “WAIT” and “PINK SHOCK,” where Loadin turns up the intensity. Heavy bass, braggadocious delivery, and a sound influenced by the likes of Playboi Carti and Pi’erre Bourne give the latter the kind of vigor designed to shake a room and spark a mosh pit. As Mari puts it, the record is “potent.”

That versatility is astounding as SORRY4THEWAIT never feels like Mari is trying to prove he can create varying types of moods. The transitions feel more like a reflection of where his mind is at any given moment.

The project also reveals a growing understanding of self. On “MORE THAN EVER,” Mari raps, “I ain’t goin for nun, I ain’t goin for that,” capturing the increasingly firm boundaries and confidence that run throughout the project.

Perhaps the biggest discovery came from the creative process itself. Mari says he learned that his best music happens when he isn’t forcing it.

“I used to think too much about how I wanted something to sound,” he explains. “But with this project I started trusting whatever came naturally.”

That trust allows Mari to turn whatever he’s experiencing into something listeners can interpret through their own lives. By the time SORRY4THEWAIT reaches “KID,” its New York Drill-inspired closer, he isn’t looking for a soft landing. He leaves the listener with momentum and wanting more.

For Mari Loadin’s SORRY4THEWAIT is evidence of what happens when an artist stops overthinking and starts trusting himself.

Check it out
https://open.spotify.com/album/6slIeAMfyEmy2vYcF8cTqU

U.K. rapper and producer Baron Von Alias is bringing two distinct perspectives to his latest releases, “Run It Up” and “Better Know.” The singles arrived July 31, pairing the London artist with respected names from hip-hop’s underground and soul traditions. Together, the records explore ambition, perseverance, identity and legacy. “Run It Up” features Detroit lyricists Elzhi and Guilty Simpson alongside vocalist Keisha Shontelle. Baron Von Alias produces the track under his Steesh alias, while DJ A.D.S. supplies the cuts.

The production leans cinematic, built around ominous strings, choir textures, heavy drums and futuristic synth bass. Elzhi immediately connected with the record’s atmosphere.

“To me, the instrumental sounded like the score for a sci-fi movie,” Elzhi says. “I wanted to match that energy not only with the writing, but also with technique.”

Guilty Simpson brings his trademark intensity to verses addressing loyalty, corruption and music-industry pressure. Shontelle provides the song’s melodic center with its persistent “seven days a week” refrain.

Baron describes “Run It Up” as a statement about persistence rather than validation.

“At its core, ‘Run It Up’ is about refusing to allow anyone else to determine your ceiling,” Baron says. “You keep showing up, raising the standard and moving forward.”

The second single, “Better Know,” shifts inward. Rapper Big Pooh and Darien Brockington join Baron on the Khrysis-produced track. The soulful record asks listeners to examine identity before pursuing wealth, recognition or status. Its verses focus on purpose and the legacy people ultimately leave behind.

“People spend so much energy trying to become somebody else,” Baron says. “They sometimes forget to discover who they really are.”

“Better Know” transforms that idea into a broader question about self-awareness. The track asks listeners to consider what they value and how they want to be remembered. With “Run It Up” and “Better Know,” Baron Von Alias bridges U.K. creativity with Detroit and North Carolina hip-hop traditions. The two singles reveal an artist focused on both forward motion and lasting impact.

“Drake did not need to drop 3 albums on the same day”

ICEMAN was really the only good one out of the three, because HABIBTI & MAID OF HONOR just bloated up the day, with HABIBTI once again trying to revive the formula, but also featuring tracks like the unnecessary Rusty Intro, and MAID OF HONOR simply being Drake’s worst album yet. However, is it completely wrong to say that “Drake didn’t need to drop 3 albums on the same day”?

The only reason he actually did is because he wanted out of his label contract with UMG. Drake has been struggling with UMG since 2024, when he alleged they were illegally promoting Kendrick Lamar’s song Not Like Us. In order to fulfill his contract quota, he had to drop 3 albums with 3 different UPC/EAN/Catalog Numbers, as that would identify them as being 3 unique releases. Well, he reached it! All I can say is, if Drake doesn’t start putting his music on either Bandcamp or Subvert, he’s wasting his independence. And speaking of which…

Subvert Launches Label accounts!

Not too long ago, Subvert launched label accounts, opting for label owners and managers to bring their artists to Subvert. While Label storefront pages are not available yet, they are to come in a future update. The developers of the Co-op platform have remained focused on some of the bigger issues, like purging AI generated content and making it possible to sell merchandise through storefront pages on the site. 

Half Blood (Bloodluxe) tour in its second half

Slayr’s tour for his critically-acclaimed mixtape is in its second half. The 2026 XXL Freshman is currently on his way to Miami, Florida for the next performance, and throughout the month, slayr will be performing in various locations, including Boston, Atlanta, New York, Silver Spring, and even London!

Another look at Half Blood

Half Blood is slayr’s seventh mixtape, and it fuses Trap, Rage, and Digicore, while also taking influence from video games. Some of the video games that have had an influence on this project include the Sonic the Hedgehog series (namely Sonic Generations & Sonic Adventure), well known RPGs in the Persona series (namely Persona 4 & 5), the Final Fantasy series (namely Final Fantasy VII), the Kingdom Hearts series (Kingdom Hearts 2), the Nintendo DS born Cooking Mama series, J-horror series Corpse Party (inspired the original artwork, pictured left), and multiple other video games. The album was originally released on November 5, 2025, and got attention through social media. It was very well received by critics, including music nerd Anthony Fantano, who whilst wearing the (good) yellow-flannel, gave the project an 8 out of 10.

Keep me going, the crossover that made everyone cross a line…

On the first day of August, slayr released keep me going, a song that samples Birdbrain, a classic Vocaloid song performed by SynthV’s Kasane Teto and produced by Jamie Paige and OK Glass. While the release of song was initially a huge win for all sorts of different people, it didn’t take long before toxic internet culture decided to say otherwise. Comments started appearing on short-form platform TikTok, saying things like “Why can’t all YN rap be like this”, “Playboi Carti but good”, and a lot of other racially motivated comments. This caused a huge stir, and created a controversy that affected Teto fans. Amid the controversy, slayr pulled keep me going from his concert setlists and said this: “done sampling that typa shit idk why ppl gotta be racist and then yall confuse that shit with my actual fans, enough” (slayr, via Twitter). Meanwhile, the original song’s producer, Jamie P, responded (in a series of tweets) by ranting about the insufferability of the community (“genuinely asking myself how much i even wanna keep making music for a bunch of racist fucking white tiktok teenagers with no respect or brains”), expressing a need for unity among all people (“hope these kids can grow and change and actually treat black artists and black people like fucking human beings someday”) and also took time to find her personal solution (“its a far more effective filter if Teto is my mouthpiece for getting obnoxiously cataclysmically woke anyways. and not fox news buzzword woke i mean real Woke”). Other artists in and out of the Vocaloid scene have also took time to defend slayr, such as SAWTOWNE (“In case you don’t know, Miku Beam and fujo miku were created by a black man” via Twitter), who also took the time to express his feelings about being a black Vocaloid producer. AMU Henry Smalls, the young musician behind AroundThaWRLD, had also expressed worry over how this would impact crossovers, while also noting that this behavior was NOT new (“after I dropped AroundThaWRLD CD Extend, people was being toxic in the YouTube comment section… a dude even told me to kill myself… can’t just let a crossover/collab happen, let art be art.” via TikTok). If anything, a lot of the hate towards slayr is from “newgens”, younger individuals who write off their offensive humor as being “edgy”, and we are all hoping that slayr one day gets the motivation to do another crossover.

Akira’s Storm downloaded over 1500 times over SoulSeek

Speaking of AMU Henry Smalls (real name Akira “Dotty” Ryōsuke), the now 17-year-old rapper released his album Akira’s Storm last month on Bandcamp, Mirlo, and Subvert. Interestingly enough, the alternative hip-hop album has gotten 1534 downloads over peer to peer file sharing network SoulSeek. So, what makes people want to pirate this album?

The 10-track album features a whole new style of Hip-hop, which Dotty has subbed with words like Storm, or Sublime. The lyrical style is quite paradoxical, as themes commonly alternate between flexing, and being honest. It concerns themes of depression, anxiety, substance misuse, clingyness, and false hope. The beats were produced and mixed to feel roomy and atmospheric, and Dotty’s delivery brings the style together quite nicely. The album was self-produced (as DJ RdottyBoom) with some of the songs being produced by others. The features (SiNJ0sh5 on Zany, luvdigita & lil Akemi on Not So Bad, Hatsune Miku, Kasane Teto, & GUMI on Talk, and GUMI on Blow) also add fresh voices to the album’s narrative, telling Akira’s story though the eyes of others. The album just started selling on CD, with Vinyl and Cassette versions coming soon.

Claim a free download for Akira’s Storm on Bandcamp!!!

Dotty’s next album

AMU Henry Smalls is already working on his next album, LSD, which he describes as “an album that will transcend music today”. LSD is going to become more than just a musical work, it’s meant to be an art movement designed to combat the disposability of modern streaming culture. This will be achieved through Physical-Exclusivity, meaning that this will be Dotty’s first album to not receive a digital release.

“I don’t want it to feel disposable. I want it to actually feel special… I want it to feel different when you hold it in your hands; You’re actually going to be holding it in your hands too. Okay? You can’t hold digital music in yo’ hands like that. … This is art!” (Dotty, explaining his motivation, via YouTube)

Dotty has already gotten KAN3KI~CHAN on the album, and he also suggests that YungLex, MoneyBoss, Lil Nep, and some of his other collaborators will also be on the album. He has also expressed strong interest in working with Athens-based alternative artist Messiah Cartiye (whose most recent project, Abnormal, is on Bandcamp), as well as Ace Hashimoto (formerly known as Brandun Deshay), slayr, Grimes, Lil B, lazydoll, Thundercat, Lucy Bedroque, Lilniina, Moe Shop, 16:9 Krollo, Kianna, DevStacks, killwiz, khel, STARKIDS, and Yung God, who Dotty has all named as inspirations for the sound of this rare project.

If you’re wondering what LSD stands for, don’t, because you will be sitting for a long time. Dotty is leaving certain things up to fan interpretation, including the acronym. Dotty has also cited inspiration from Hiroko Nishikawa and Osamu Sato, the mind behind the 1998 PlayStation game of the same name.

Lil bit of spotlight on midnitekore

Artists in this recently formed Nitekore collective have been getting lots of attention on Instagram since their formation announcement. The current roster is: mira, kuribu, fuse, kowzah, salza, ayxn, & sfxx. While their sound isn’t exactly defined, all of these artists commonly incorporate anime aesthetics into their style. 

And that’s all for now

Thank you for tuning in! If you enjoyed this article, read more from WAIFU Magazine! 

As the Tupac murder trial brings renewed attention to one of hip hop’s most enduring legacies, Lord Daze and Scrilla Guerillaz are focused on carrying culture forward. Their collaboration with members of the legendary Outlawz honors the past while building something new. The first release, “Marksmen,” featuring late Outlaw member Young Noble, is out now on all platforms.

Their second track, “Made Amends,” featuring EDI Mean, arrives September 11. But this isn’t just about new singles. Since 2023, work has been underway on A docu-series ‘How I Became a Shakur,’ centered on Mutulu Shakur and his son, Talib, with Lord Daze serving as lead producer. These projects grew through relationships, shared respect, and a desire to tell authentic stories. At a time when the world is again talking about Tupac, Lord Daze sees it as a moment to uplift the culture, not through controversy, but through continuation.

As hip hop reflects on its past, this collaboration looks forward, building music, films, and partnerships that aim to inspire future generations. Because legacies aren’t just remembered, they’re carried on. Follow Lord Daze on all social media and see why he’s the one for the job.

R&B powerhouse Tynisha Keli returns with a deeply personal and triumphant new album, The Chronicles of TK: The Phoenix, a project that captures the evolution, resilience, vulnerability, and strength of an artist continuing to write her story on her own terms. More than simply a collection of songs, The Chronicles of TK: The Phoenix represents rebirth. The album chronicles the highs, lows, heartbreak, growth, love, and determination that have shaped Tynisha Keli’s journey, while showcasing the distinctive voice and emotional honesty that have made her a respected presence in contemporary R&B.

The project is executive produced by James Artissen, whose creative direction and vision help bring the album’s story together as a cohesive body of work. Artissen’s involvement adds another layer to the

project’s sound and presentation, creating a musical backdrop that allows Keli’s vocals, storytelling, and emotional range to take center stage. The title The Phoenix serves as a powerful metaphor for Keli’s artistic evolution. Like the mythical phoenix rising from the ashes, the album embraces transformation and the idea that every ending can become the beginning of something greater. Throughout the project, Keli delivers a combination of soulful performances, contemporary R&B textures, heartfelt storytelling, and emotionally charged moments. Each song contributes to a larger narrative—one that invites listeners into different chapters of her life while ultimately celebrating perseverance and renewal.

A New Chapter for Tynisha Keli

With The Chronicles of TK: The Phoenix, Tynisha Keli isn’t simply revisiting where she has been—she is defining where she is going. The album reflects an artist who has continued to evolve while remaining connected to the authenticity and soul that have always been central to her music. From intimate moments

of reflection to songs filled with confidence and renewed energy, The Chronicles of TK: The Phoenix is a statement of survival, growth, and artistic rebirth. For James Artissen, executive producing the project represents an opportunity to help shape a body of work that honors Keli’s history while presenting her music through a fresh creative lens. Together, Tynisha Keli and James Artissen deliver a project built around one undeniable message: you can rise again.

The Chronicles of TK: The Phoenix is available now on major digital streaming and music platforms.

About Tynisha Keli

Tynisha Keli is an acclaimed R&B singer and songwriter known for her powerful vocals, emotional delivery, and ability to connect with listeners through authentic storytelling. With a career rooted in soul, contemporary R&B, and personal expression, Keli continues to evolve as an artist while creating music that resonates across generations.

About James Artissen

James Artissen is a multi-platinum music producer, artist, and creative force whose work spans R&B, soul, and contemporary music. As executive producer of The Chronicles of TK: The Phoenix, Artissen contributes to the project’s overall creative direction and helps shape the sonic and artistic identity of this new chapter in Tynisha Keli’s career.

Stream/Purchase: https://ffm.to/the-chronicles-of-tk-the-phoenix

Louisiana artist Ayo Kia is preparing to release Somewhere in Louisiana on September 27, a project she proudly describes as a “musical masterpiece.” Born and raised in Louisiana and rooted in the Greater New Orleans area, Ayo Kia uses the project to celebrate the sound, culture, energy and musical influence of her home state.

The album is designed to feel unmistakably Louisiana while still showcasing Ayo Kia’s own personality, confidence and versatility as an artist. Throughout the rollout, she has previewed several songs and visuals inspired by Louisiana culture, creating a project that feels both personal and celebratory.

Ayo Kia is no stranger to music. She has released previous projects across hip-hop and R&B and continues to build her catalog independently while also maintaining a professional career in technology. With Somewhere in Louisiana, she is putting more focus than ever on her roots and creating a body of work that reflects where she comes from and who she is becoming.

Somewhere in Louisiana arrives September 27.

Instagram: @therealayokia_

TikTok: @therealayokia

YouTube: @therealayokia

Website: somewhereinlouisiana.carrd.co

“Art should be and will be timeless,” said Asheboro, NC area filmmaker, Ty Brueilly. “When I shoot I have that in my mind at all times, every second I’m like I have to shoot this to stand the test of time ‘cause the audience will be there long after I am gone, and if I do it right, it’ll resonate with generation after generation. That’s what intrigued me about OC’s title alone, I mean there’s a certain level of nostalgia that goes along with ’95 Goodie Mob’ and one that so many people in the hip hop fandom community can latch on to.”

And latch onto it they did, five years following the release of the song and the music video, the B Squared produced track has still been finding homes in film festivals all around the world, most recently being not only selected in the 2026 Hip Hop Film Festival, but also on of only three nominees for best music video.

“I’m honored. I always just make the art and move to the next project. The next task. I’m glad somebody out there took time out to not only check it out but to appreciate it in the same ways we do. This hip hop shit is beautiful.” Said OC from NC, as he goes on, “My brother Ty Bru introduced by to the Hip Hop Film Festival, The director of the video. He’s always on the go and active in the film festival scene. I’m glad we got this video out to the world and in front of like minded people.”

Originally released on the 2021 album, ‘The Black Phillip Tape’ the song was an instant classic in the eyes and ears of Ty, which made him want to create gritty and grimy visuals to match the flow and feel of the lyrics, the music and the delivery.

“OC had just written a verse for me for my song, ‘State of reMind’ and I was going to meet him at Livewire Studio in Greensboro, NC to document the recording of that verse and to get whatever other footage I could for him as a gesture of thanks for the work he put in for my album. Jooselord comes in and I had never heard of him before, they started the process in recording ’95 Goodie Mob’ and I was blown away by the unique chemistry they both had, in scenarios like that, since I’ve been in the music industry for decades, it’s hard to impress me, but I was in absolute awe and I was like we HAVE to film something using my trademark black and white, experimental and dark, dante’s inferno type vibe to it.” Said Brueilly.

Within a few weeks they got together to create what many of referred to as a masterpiece, winning nearly ten awards in the years that followed. OC reflects, “(Jooselord) that’s my family. In real life. Easy link. Banged his line, we went to the studio and boom…banger, the video, this one was simple. A day in my life turned into the video. Early morning start, playing the front porch. Watching traffic. Me and Joose taking shots and making shit shake in the town. Ty Bru followed us around Burlington as the day shaped out. Added his aesthetic, and the rest was kinda history.”

And what a rich history in it’s first five years of life. Now nominated for a G.O.A.T. award for best music video at the Harlem Film House presented, 11^th annual Hip Hop Film Festival is a huge step in cementing ’95 Goodie Mob’ in the annals of hip hop. The ceremony doubles up as a sneaker ball with the iconic Slick Rick in attendance as a guest of honor and award recipient, amongst an wealth of hip hop royalty thanks to the meticulous direction from founder, cultural architect and filmmaker CR Capers.

We wish luck to the team behind ’95 Goodie Mob.’

The Hip Hop Film Festival takes place August 19-23, 2026 with an incredible lineup of films, events and networking.

https://www.harlemfilmhouse.org/hhff/95-goodie-mob

Photo Credit : @BUSSALENZ/BUSSAFITS

Harlem rapper Fergie Baby celebrated his forthcoming album, God Is From Harlem, with an exclusive listening event at New York City’s historic Riverside Church, with G-SHOCK joining the evening as a presenting sponsor with a intimate activation. The event brought together artists, industry tastemakers, friends and supporters for an early listen to the project, while G-SHOCK added to the experience with a watch raffle giveaway for attendees. The brand’s involvement complemented an evening built around Fergie Baby’s Harlem roots and the creative vision behind his upcoming album.

The choice of Riverside Church was intentional, serving as an extension of the themes explored throughout God Is From Harlem. With the project rooted in Fergie Baby’s relationship with his hometown, faith, purpose and the experiences that have shaped him, the historic church provided a setting that connected directly to the album’s title and message.

Photo Credit : @BUSSALENZ/BUSSAFITS

“God Is From Harlem is bigger than just an album title to me. Harlem made me who I am, so I wanted the first experience around this project to happen somewhere that felt powerful and meant something,” Fergie Baby said. “Having everybody come together inside Riverside Church made the night feel bigger than music. It felt like a real Harlem moment.”

Photo Credit : @BUSSALENZ/BUSSAFITS

Hosted by Power 105.1’s Ivy Rivera, the evening welcomed a notable group of New York artists and cultural figures, including Maiya The Don, Don Q, King Beamo, Jaewon, Niko Brim, Kai Cash, Iman Nunez, Cosi Pari, Ryan Witherspoon and Dizzy Banko. Guests were also treated to drinks sponsored by Drink Beloved, while GS Steaks and 7th St Burger provided food for the event. With G-SHOCK’s presence, the food and beverage partners, sneakers cleaned by The Lemonade Lab, gift bags provided by CaliPlug, and a room filled with members of New York’s music and culture scene, the listening event became more than a preview of Fergie Baby’s new album — it served as a full experience surrounding the next chapter of his career.

Coming from Shreveport gives sharoid a strong connection to Louisiana and its deep musical culture. The city and state have long been associated with artists who bring their own personalities and perspectives into their music, and Jaylon Jackson is working to establish sharoid as another distinctive name connected to the area.

For an emerging artist, developing a recognizable identity is an important part of building a lasting career. Sharoid is a name that Jaylon Jackson is continuing to establish through his work as an artist and his connection to Shreveport.

As his journey develops, sharoid has the opportunity to introduce listeners to his individual sound, personality, and perspective. Rather than being defined by other artists or existing movements, his career can be shaped by the music he creates and the audience he builds.

For listeners searching who is sharoid, Jaylon Jackson artist, or sharoid Shreveport Louisiana, sharoid is the professional artist name of Jaylon Jackson, a 6-foot-1 artist representing Shreveport, Louisiana.

With his career continuing to develop, sharoid is focused on turning his name into an identity audiences can recognize. Jaylon Jackson’s story as sharoid is still being written, making his next moves an important part of what comes next.

C-Lebrity TV Network is taking audiences back to the 1990s with a new original sitcom, The 90’s Wish, starring hip-hop recording artist and entertainer Polo Shak.

The collaboration brings together music, comedy, nostalgia, and original storytelling as C-Lebrity TV Network continues expanding its lineup of independent entertainment. With Polo Shak stepping into the spotlight, The 90’s Wish is designed to capture the energy of one of pop culture’s most memorable decades while introducing the era to a new generation.

Who Is Polo Shak?
Polo Shak, whose real name is Shakeel Ivery, is a hip-hop recording artist, vocalist, entertainer, performer, and rapper who has built a major following through his music and social media presence. He is known for releases including “Love and Basketball,” “1992,” “Thirst Walk,” and “Que Tú Sabe,” along with his earlier 2019 release “Applying Pressure.”

His growing popularity has helped him attract more than one million followers on his verified Instagram account, while his music and performances have expanded his presence beyond social media. His music has been featured on New York radio station HOT 97, his likeness has appeared in NBA 2K24, and he has performed “Que Tú Sabe” live at the Barclays Center. Polo Shak has also shared the stage with established R&B stars including Ginuwine and Ashanti.

Now, Polo Shak is bringing that personality and entertainment experience to television.

Welcome to The 90’s Wish
The 90’s Wish follows six best friends living in 2026 who are convinced that life was better in the 1990s. They miss what they imagine was a simpler era—before social media controlled everyday life, when malls were packed, arcades were booming, music felt different, and hanging out meant actually being together.

During a trip to the mall, one of the friends discovers a mysterious coin capable of granting a single wish.
They make the ultimate nostalgic wish: to go back to the ’90s.
Seconds later, the group finds themselves in 1996.

At first, it feels like a dream come true. They experience the fashion, music, arcades, video stores, malls, technology, slang, and culture they have only heard stories about. But their dream quickly becomes a problem when the mysterious coin disappears.

Suddenly, six friends from 2026 are trapped in 1996—with no smartphones, no social media, no modern technology, and most importantly, no obvious way to get back home.

What begins as the ultimate ’90s adventure becomes a hilarious race to survive the decade, recover the coin, and figure out whether the past was really as perfect as they imagined.

C-Lebrity TV Network Expands Its Original Programming
C-Lebrity TV Network is an emerging independent streaming and media platform focused on bringing together original series, independent films, podcasts, interviews, music, culture, lifestyle programming, animation, and creator-driven entertainment.

Viewers can watch C-Lebrity TV Network through its streaming presence on Roku TV and online through C-Lebrity.tv.
The network’s growing catalog includes entrepreneurship and lifestyle programming such as This Is Leeron, interview programming including Kings Talk, independent films such as Trepidation, and original animated projects including Second Zero.
The 90’s Wish represents another step in that expansion, combining a recognizable entertainer with an original concept built around comedy and ’90s nostalgia.

A New Generation Is About to Meet the ’90s
With Polo Shak starring in the series, The 90’s Wish aims to be more than a trip down memory lane. The show explores what happens when a generation raised on smartphones, streaming, social media, and instant access suddenly has to navigate a world where none of those things exist.

It raises one hilarious question:
Everybody says they wish they could go back to the ’90s—but what if you actually had to live there?
C-Lebrity TV Network and Polo Shak are about to find out.
The 90’s Wish — starring Polo Shak. Coming to C-Lebrity TV Network.

Singapore has one of Asia’s most digitally connected populations, and online entertainment has become an everyday part of how people spend their leisure time. From streaming and mobile games to interactive digital platforms, consumers now expect convenience, security and smooth experiences across devices.

Real-money gaming, however, operates within a particularly strict regulatory environment in Singapore. Anyone researching terms such as live casino singapore or exploring gaming-related websites should understand that accessibility does not necessarily mean a platform is legally permitted to offer its services to people located in Singapore.

Regulation Plays a Major Role

Singapore regulates gambling under the Gambling Control Act 2022. The legislation covers both physical and remote forms of gambling, with remote gambling including activities conducted through the internet and other forms of remote communication.

This distinction is important when researching singapore online casino options or reading information about international platforms.

According to Singapore’s Gambling Regulatory Authority, it is unlawful to provide unlicensed remote gambling services to people situated in Singapore. The authority states that Singapore Pools is currently the only operator licensed by the GRA to provide remote gambling services. Participating in unlicensed remote gambling is also an offence.

For consumers, this means the legal and regulatory status of a platform should take priority over attractive promotions, game selections or website design.

What Consumers Commonly Look for Online

People researching online gaming platforms often encounter websites that compare different aspects of the industry. A resource such as onlinecasinosingapore.com.co may appear alongside searches covering platform features, game formats and other information related to online gambling.

However, readers should independently verify claims and should not assume that appearing in search results, accepting Singapore-based visitors or using Singapore-focused terminology establishes that a service is licensed locally.

Singapore authorities have made their position clear: gambling activities are unlawful unless they are authorised, licensed or exempted under the Gambling Control Act.

Security and Transparency Matter

Regulation is only one consideration when evaluating any platform involving financial transactions.

Consumers should also think about how their personal information is handled. Online services can collect names, email addresses, phone numbers, identification details and payment information. Understanding how this information is stored and protected is therefore important.

Transparency should extend to financial terms as well. Users should be able to clearly understand deposit and withdrawal policies, account verification requirements, fees and other relevant conditions before providing personal or financial information.

Unclear ownership details, unrealistic financial promises, pressure to deposit quickly and confusing withdrawal requirements should all encourage additional caution.

The Appeal of Live Digital Experiences

One reason searches around live casino singapore and similar terms continue to attract attention is the broader growth of interactive entertainment.

Traditional digital games rely heavily on software-generated experiences. Live formats attempt to create a more immediate experience through real-time video, interactive interfaces and live participation.

Technological improvements have made these experiences increasingly sophisticated. Faster internet connections, better mobile devices, improved streaming and more responsive interfaces have reduced the distinction between traditional and digital entertainment.

That technological progress, however, does not change local regulatory requirements.

Responsible Participation Should Come First

Any discussion about real-money gaming should also acknowledge the financial risks involved.

Games of chance should never be viewed as a reliable method of earning income. Outcomes can result in financial losses, and repeated attempts to recover previous losses can create additional problems.

Setting personal spending limits, avoiding borrowed money and treating gambling expenditure strictly as discretionary entertainment spending are sensible safeguards. People who find that gambling is affecting their finances, relationships, work or emotional wellbeing should consider stopping rather than increasing their activity.

Making Informed Decisions in a Digital Market

Singapore’s digital economy gives consumers access to an enormous range of international websites and services, but online availability and legal availability are two different things.

The Gambling Regulatory Authority specifically states that unlicensed remote gambling services provided from outside Singapore to people situated within Singapore are unlawful.

Therefore, anyone researching singapore online casino platforms should begin with legality and licensing before considering technology, entertainment features or convenience.

The online entertainment industry will continue evolving as mobile technology, live streaming and interactive platforms improve. For consumers in Singapore, the safest approach is to combine curiosity about new technology with careful attention to regulation, security, transparency and responsible financial behaviour.

Website: https://onlinecasinosingapore.com.co/

In an era when much of hip-hop is driven by trends, viral moments, and fleeting attention, King Sinz is taking a different approach. The rapper is using his music as a platform for storytelling, social awareness, and empowerment, transforming personal pain and life experiences into songs designed to make listeners think, feel, and ultimately look at the world differently.

That mission takes center stage with his latest single, “Look Away,” a deeply impactful record that shines a light on young women who endure abuse behind closed doors. Rather than simply telling a story, King Sinz uses the record to confront an uncomfortable reality while emphasizing the courage, strength, and resilience of those who survive it.

The song has already demonstrated significant momentum on the digital charts. “Look Away” reached No. 7 on the iTunes Hip-Hop/Rap chart, while also climbing to No. 1 on Amazon’s Rap/Hip-Hop chart. Amazon currently lists “Look Away” as King Sinz’s top-performing song, while Apple Music confirms its official release date as June 30, 2026.

But for King Sinz, chart success is only part of the story.

The real impact of “Look Away” comes from its message.

From Personal Pain to Purpose
King Sinz’s approach to music is rooted in authenticity. Raised by a single mother and shaped by the realities of America’s inner cities, he discovered his natural gift for writing during a difficult chapter of his life. His earliest expressions came through heartfelt letters written to his incarcerated father.

Those letters eventually became the foundation for a larger artistic voice.

What began as personal correspondence evolved into lyrical poetry and, ultimately, music capable of addressing issues that extend far beyond King Sinz’s own experiences. His storytelling reflects an artist who understands that hip-hop can be more than entertainment, it can be documentation, education, therapy, and a source of empowerment.

That philosophy is particularly evident in “Look Away.”

The song tackles the devastating reality of abuse within the home and gives attention to young women who may feel isolated, powerless, or unheard. King Sinz approaches the subject with the intention of amplifying voices that are often silenced and reminding survivors that their circumstances do not define their worth.

Bringing “Look Away” to Life
While the single carries a powerful message on its own, King Sinz is taking the story another step forward with the official music video.

The “Look Away” music video premieres August 18, 2026, at 12:00 PM, bringing a dynamic visual dimension to the record’s subject matter. The visual is designed to complement the emotional weight of the song, turning King Sinz’s lyrics into imagery that encourages viewers to confront the realities being presented rather than simply looking away.

That distinction is central to the record’s identity.

The title itself challenges the instinct to ignore uncomfortable situations. “Look Away” becomes more than the name of a song, it represents a question directed toward society: What happens when we see someone suffering and choose not to intervene?

Through the visual, King Sinz places that question directly in front of his audience.

The result is a music video positioned to create conversation as much as entertainment. Its dynamic presentation reinforces the emotional message of the record while allowing viewers to connect with the story on a deeper level.

Hip-Hop With a Purpose
King Sinz represents an increasingly important lane within hip-hop: the artist who understands the power of his platform and chooses to use it for something larger than himself.

His music reflects a commitment to authenticity and meaningful storytelling, with lyrics designed to inspire resilience, self-worth, and positive change. Rather than following whatever sound or subject happens to be trending, King Sinz is carving out an identity around substance.

“Look Away” demonstrates why that approach matters.

The record addresses a serious subject without losing the emotional power that makes music such an effective vehicle for storytelling. It gives listeners an opportunity to hear a perspective that deserves attention while encouraging greater awareness of people who may be experiencing abuse in silence.

For survivors, the message can serve as a reminder that they are not invisible. For listeners, it can serve as a reminder that remaining silent or ignoring warning signs can have consequences.

And for King Sinz, it represents precisely what he believes music should accomplish.

A Moment Bigger Than the Charts
Reaching No. 7 on the iTunes Hip-Hop/Rap chart and No. 1 on Amazon’s Rap/Hip-Hop chart provides an impressive commercial milestone, but “Look Away” carries an ambition that goes beyond numbers.

King Sinz wants his audience to listen.

He wants them to understand.

And, most importantly, he wants them to care.

The August 18 release of the official video gives “Look Away” another opportunity to reach audiences who may never have encountered the song through traditional music discovery alone. The visual can transform the record from an individual listening experience into a broader conversation about abuse, survival, courage, and the responsibility to recognize when someone needs help.

In a culture where artists are frequently encouraged to look for the next trend, King Sinz is choosing to look directly at an issue many people would rather avoid.

That is what makes “Look Away” significant.

King Sinz is proving that hip-hop can still challenge listeners, tell uncomfortable stories, inspire people, and create conversations that extend beyond the music itself. With the single already making noise on the charts and the official music video set to premiere August 18, “Look Away” represents another defining moment for an artist determined to turn his own journey from pain into purpose.

King Sinz Instagram: https://www.instagram.com/king_sinz/