Posts tagged with "lyrical"

Paul Thom (Cash Money Records) for use by 360 Magazine

YoungBoy & Birdman × From The Bayou

December 10, 2021, YoungBoy and Birdman released their joint mixtape, From The Bayou. Listen HERE.

Both popular rap stars came together and created ten new tracks together. Their music, together, fuses “magnetically melodic hooks with diamond-encrusted lyrical flexes.” From The Bayou joins together contrasting eras and fashions of Louisiana rap with two of the most prominent and influential to come out of the state on one jointed project.

The tape starts off with “100 Rounds,” and then moves to Birdman handing off to YoungBoy on “Young Stunna,” and the tape finishes on the Southern rap masterclass that is “How Ya Kno.”

From The Bayou Track List

  1. 100 Rounds
  2. We Ride
  3. Choppa Boy
  4. Open Arms
  5. Alligator Walk
  6. The Bigger End
  7. Young Stunna
  8. Safe Than Sorry
  9. Heart & Soul
  10. How Ya Kno
  11. Achievements
  12. Black Ball
  13. Stuck With Me
Black Music Month via Alex Bogdan for use by 360 Magazine

Kay Young – New EP

Today, London based artist, rapper and producer Kay Young releases her new EP This Here Feels Good via Play It Again Sam. The EP was written, performed, produced, and recorded by Kay in London during 2020-2021 and includes two never before heard tracks No Regrets and Wait For Me.

Listen to This Here Feels Good

This Here Feels Good is the sound of an artist using music as their second language. Kay moves between tightly rapped verses, glorious vocal performances, often within the space of one track as well as across the whole EP. Wait For Me pays homage to the London jazz scene and adds a playful touch to a project already brimming with joy, while previously released tracks “Suddenly” and “I’ve Got You” provide euphoric uplift, and Kay shows her skill as a deft lyricist on White Teeth.

The release is a stunning collection of songs that expands upon the sonic blueprint Kay has already laid out, that caught the attention of Jay Electronica and Jay-Z who later signed her to Roc Nation. She delves deeper into dance and soul while continuing to explore themes of familial legacy and cultural relation, keeping a perfect balance between lyrical vulnerability and musical uplift.

Speaking on the EP Kay says:

Creating this EP during lockdown kept me sane. I simply got lost in it because it felt good and I felt safe regardless of what was going on outside my bedroom studio. I dug deep and gave it my all!

art illustration by Gabrielle Marchan for use by 360 magazine

THE MOAD PRESENTS THREE NEW EXHIBITION

MUSEUM OF ART AND DESIGN AT MDC PRESENTS

THREE NEW EXHIBITIONS FOR FALL 2021

Museum of Art and Design (MOAD) at Miami Dade College (MDC) presents three one-person exhibitions for the Fall 2021 season. Exhibitions by the Icelandic artist Hreinn Fridfinnsson, Cuban American Jorge Pardo, and Miami-based Venezuelan American Loriel Beltrán offer viewers comprehensive looks at the practices of three of the most compelling artists—both local and international—working today. The exhibitions will be on view from Nov. 6, 2021, through May 1, 2022.

Hreinn Fridfinnsson: For the Time Being, the first American museum exhibition of the influential Icelandic artist spans six decades and highlights his use of minimal gestures to transform everyday materials into poetic, allusive, and revelatory works of art. Born and raised in Iceland, Fridfinnsson moved to Amsterdam in 1971 and began exhibiting his work in museums and galleries across Europe. His early works align with contemporaneous cutting-edge art movements, such as land art and photo conceptualism, but still suggest the distinctively romantic, lyrical, and wry sensibility that continues to define his practice.

A kind of poetic restraint characterizes many other Fridfinnsson works, which take ordinary materials and objects as their starting point. With a light touch, the artist minimally intervenes to alchemically transmute pedestrian things into allusive and enigmatic artworks—what we might call, in Duchampian terms, “slightly assisted readymades.” Sometimes these works carry a tacit mystical or spiritual charge, such as Sanctuary, 1992–2010, a regular cardboard carton with a sheet of fluorescent paper placed inside. Upended and mounted on the wall, the splayed box makes a cruciform shape and unearthly light seems to emanate from within.

Fridfinnsson’s art is often dependent on vagaries of atmosphere and perception for its effect. Most of his major exhibitions, including this one at MOAD, gather works from across the multiple decades of his career, without regard for chronology or ideas of artistic development. For the Time Being marks a provisional summation of the artist’s achievement, less a traditional retrospective than an assembly of instantiations of his unique sensibility.

Jorge Pardo: Mongrel, a site-specific installation, features a new series of quasi-abstract drawings along with modernist chairs, custom-fabricated chandeliers, and a carpet designed by the artist in MOAD’s expansive Skylight Gallery. The immersive exhibition poetically conjures the artist’s own history and biography, including his childhood memories as a Cuban refugee, processed with his family at MDC’s Historic Landmark Freedom Tower, which now houses the museum.

An untitled series of 25 new drawings created expressly for this exhibition meld a wide variety of images into arresting abstractions of pulsing color and form, while still occasionally revealing their representational sources. The artist emigrated to the United States as a child, passing through the Freedom Tower, which then served as a processing center for Cuban refugees. His memories of the welcoming architectural landmark intertwine with those of displacement, trauma, and loss caused in part by the Cuban regime’s confiscation of the emigrants’ family photographs and documents. Pardo’s drawings use family photos—his own and others’—as their starting point, along with historic photos of the Freedom Tower. He combines these with a vast array of other images, including many artworks crucial to his development as an artist and others meant to evoke the cultural milieu of his formative years.

The artist manipulates his source materials on the computer, resizing, superimposing, colorizing, and otherwise transforming images that recall personal and cultural memories into dazzlingly hued, intricately textured near-abstractions. Pardo translates these into vector graphics, which are then printed on cotton Guarro paper and brilliantly tinted by hand with colored pencils. Pardo has compared the montage and assimilation of source images into the provisionally unified whole of his drawings to the process of assimilation undergone by any immigrant to a new land, including himself. He views his reconstruction of an image from recognizable fragments into a new, often unfamiliar, mixed configuration as analogous to his own hybrid or “mongrel” condition, existing between cultural, ethnic, or racial identities.

Loriel Beltrán: Constructed Color presents recent works by the artist, innovative abstract paintings of dazzling opticality and metaphorical density made by affixing slabs of layered pigment, sliced from blocks hardened in boxlike molds, to panels. Beltrán’s panels appear as stacked structures, assemblages, or objects. But the optical mixing of the colors perceived by viewers also makes the paintings seem somewhat intangible. This contradiction between object and opticality constitutes only one of the works’ paradoxes. Beltrán uses such contradictions to create a tension-filled space within which he explores possible modes for contemporary painting.

Beltrán’s exhibition inaugurates MOAD Projects, a new series of exhibitions that features work by Miami-based artists, including distinguished MDC and New World School of the Arts alumni and faculty. MOAD Projects provides a platform for local artists to realize new projects or exhibit recent bodies of work, as well as for investigations of understudied historical developments in Miami’s cultural past. MOAD Projects expands upon the swing/SPACE/Miami alumni exhibition series that began in 2013.

“We are thrilled to present solo shows by three fascinating artists this fall,” says Rina Carvajal, MOAD’s Executive Director and Chief Curator, who organized all three projects. “Introducing Hreinn Fridfinnsson’s intelligent and poetic work to America is a great honor. And we are proud to host Jorge Pardo’s engrossing semi-autobiographical installation, which engages his own artistic development in tandem with the history of exile, of Miami, and of the Freedom Tower itself. These two projects, combined with the rigorous and brilliant paintings of Loriel Beltrán, produced here in Miami by an alumnus of the New World School of the Arts, give our audiences a view of the vast range of contemporary art’s possibilities.”

Hreinn Fridfinnsson: For the Time Being is curated by Rina Carvajal, MOAD’s Executive Director and Chief Curator, with the assistance of Isabela Villanueva, Consulting Assistant Curator. Jorge Pardo: Mongrel and Loriel Beltran: Constructed Color are curated by Rina Carvajal. All three exhibitions are made possible by the Miami-Dade County Department of Cultural Affairs and the Cultural Affairs Council, the Miami-Dade County Mayor and Board of County Commissioners; and the State of Florida, Department of State, Division of Arts and Culture, and the Florida Council on Arts and Culture. For their generous assistance in realizing the exhibition of Hreinn Fridfinnsson, MOAD wishes to thank Hrafnhildur Helgadóttir; Claes Nordenhake and Nadia Heinsohn of Galerie Nordenhake; Börkur Arnarson and Bryndís Erla Hjálmarsdóttir of i8 Gallery; and Elba Benítez and Pamela Cañizo of Galería Elba Benitez. For invaluable assistance in his research, Jorge Pardo wishes to thank the Cuban Heritage Collection and the Cuban Refugee Center Records, both at the University of Miami Libraries, Coral Gables; the Research Center at HistoryMiami Museum; and the Florida International University dPanther Digital Repository.

music note illustration by 360 magazine

GoldLink – HARAM!

Today, GoldLink, one of the most innovative artists in hip-hop, releases his third studio album, HARAM!, via Squaaash Club/RCA Records. Click here to listen.

Containing 15 tracks with features by Flo MilliNLE ChoppaSantigoldBibi BourellyRich The Kid, emerging international act Fire! and more, HARAM! represents the destruction and rebuilding of a new GoldLink, yet stays true to his lyrical prowess. Joe Perez (Kanye West, Nicki Minaj, Pusha T) helmed the creative direction for the album.

Continuing to redefine what a “rap star” is meant to be, HARAM! is GoldLink’s most personal, genius, adventurous and riskiest piece of work to date. Filled with unfiltered braggadocios raps, challenging flows – yet feels more specific, like a biopic – the album is one that poses questions rather than give answers. The metaphoric use of the harsh, gritty telephone effect against his iconic cadence signifies that GoldLink is purposefully imperfect; he doesn’t want to be perfect. With HARAM!, GoldLink’s quest is to challenge the idea of rap titles in art in his pursuit to becoming a musical deity.

This Saturday (6/19), GoldLink will be performing during Luminosity Gaming’s “Luminosity Live” event, presented by F9. Catch him on Twitch at 10pm EST on the Luminosity Twitch Channel.

HARAM! Track list:

01 Extra Clip feat. NLE Choppa

02 202

03 White Walls

04 Spit On It feat. Rizloski

05 Terrordome

06 Evian feat. PinkPantheresss, Rizloski & Rax

07 Raindrops feat. Flo Milli

08 Twin feat. Rich The Kid

09 Girl Pacino

10 Thump Chronicles Vol. 1 feat. Pressa & Digga

11 Culture Clash feat. Fire!

12 Wayne Perry feat. LukeyWorld

13 Wild and Lethal Trash! feat. Fire! & Santigold

14 Don’t Cry Over Spilled Milk feat. Jesse Boykins III

15 Cindy’s Daughter feat. Bibi Bourelly

Listen here: HARAM!

About GoldLink:

Where the intersections of the DMV (DC, Maryland and Virginia) collide, GoldLink is a direct product. Washington, D.C., and the broader DMV area, have long been treated like a musical Rubik’s cube. There are bursting, technicolor patches of musical brilliance, but the component parts never line up in a way that made sense to those on the outside. GoldLink is not interested in spelling out all the nuances of his hometown; what he does aim to do is synthesize his environment’s litany of influences and inspirations into something unique, singular, and all together his own.

With his RIAA-certified Gold debut studio album At What Cost (Squaaash Club/RCA) – helmed by the monstrous single “Crew” – released in March 2017, he’s done just that. By merging the sensibilities of go-go with the African diaspora, he’s done what hip-hop has done from its inception: repurpose what’s available into something magical.

The success of At What Cost and 4x Platinum single “Crew” saw GoldLink achieve a number of career firsts — from his Grammy nomination for Best Rap/Sung Collaboration to the iHeartMedia Music Awards nomination for Best New Hip-Hop Artist to his BET Awards nomination for Best New Artist. Adding to his accomplishments was a Grammy Nomination for Best Rap/Sung Collaboration the following year with “Like I Do” with Christina Aguilera.

Following up in 2019 with Diaspora, GoldLink continued to show his sonic range and influences as shown on singles “Zulu Screams” ft. Maleek Berry & Bibi Bourelly, and “Joke Ting” ft. Ari Pensmith. The album was recognized by Pitchfork as “the best music of his career,” and Highsnobiety declared “GoldLink can conceive of and execute his ideas better than most anyone in hip-hop today.” Diaspora made several Best Albums of The Year lists including Complex, UpRoxx, Hot New Hip Hop and more, while “Zulu Screams” made The New York Times “54 Best Songs of 2019” list, calling it “a supremely catchy international collaboration.”

Connect with GoldLink

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Kemba Releases New Single “Exhale” Feat. Smino

Just recently, rising Bronx rapper Kemba shares his new single “Exhale” (feat. Smino).

Get it here!

“Exhale” only scratches the surface of Kemba’s immense lyrical talent. It acts as a reminder that through all the trials and tribulations, he’s still an important fixture in NY rap and hip-hop as a whole. This single sets the tone for what’s to come from Kemba as he works on his next body of work.

Be on the lookout for a lot MORE soon.

It makes perfect sense Kemba calls The Bronx–the birthplace of hip-hop–home. He literally carries the genre with him everywhere. Making a name for himself as a fan favorite under the name of YC The Cynic, he dropped a series of lauded projects and songs from 2010 through 2013. Adopting the moniker Kemba, he ignited his rise with his 2016 album Negus which received critical acclaim. In addition to a highly cited interview on Real Late W/ Peter Rosenberg, he joined Kendrick Lamar on stage for a spontaneous performance that was widely circulated online. His skills not only impressed Kendrick but also caught the eye of Brasstracks (Chance The Rapper’s “No Problem”), who reached out and went to work, helping Kemba craft his forthcoming album due out next year.