Mikal Bae, also known as Father Darko, is the flagship visual artist of the Chicago music collective SlumpGang777. Mikal Bae is chosen as artist of the week for a few reasons. The first is that he has been cranking out visuals like crazy for artists such as CantBuyDeem, Chore Boy, T.Z.Duhh, Sage the 64th Wonder, Orlando Coolridge, Flxtch, Unkle Slump,Vex the MC, Fxther Kari (Khalil Halim), Millie Boy, Novatore, and alexSlander. The second is that he has also put in a lot of work visually and aurally; shooting footage and djing live events such as SlumpFestIII and the Midwest Slump Tour! And lastly Mikal Bae as an audio, visual and graphic artist, lo and behold, he also releases music! Mikal Bae has dropped I Can Feel the Sadness in My Toes, The Man Who Ate God,If Home is Not Here. Where Is It?,All That Never Was and From Darko With Love.
He goes by Mikal Bae visually and Father Darko to present his records. Multi-talented to say the least; Visually I would describe his style as graffiti drip. I honestly could not even explain what I mean by that but I encourage you to go look at his IG page and take some ganders at his music videos by searching up Darko Visuals on YouTube both linked below. He also designs merchandise for the SlumpGang777 collective! There are these custom glass spoon pipes that have “SL” on the front of the bowl that catches the eye. He also has these tie dye shirts that are orange, black and white stamped with SlumpGang777 logos.
Mikal Bae has always been a freelance hustler and for as long we can tell his only job has been in the music, art, and entertainment business. He is not a tradesmen, he is an artist. You do not necessarily pay him for commissions, you commission him to bring and give something more life! You have a song? He can make an amazingly unique visual loop to it. You a need music video? He will shoot, edit, and produce it. If you need a live visual DJ to enhance the entertainment value of your show? He will use a beat pad to syncopate live visuals to your set!
Mikal Bae aka Father Darko is someone you want to pay attention to especially if you are a lover and fan of all things hip hop. From music videos, merchandise, visual loops, artwork, fliers, recorded songs, visually deejaying and producing. He can really do it all and artists like this are people we want to be highlighting every week!
Chicago is a dynamic city filled with all kinds of draw ins from its history, architecture and especially music. Birthplace of house music, countless talented artists and jive with a bustling blues culture here in particular, it welcomes quite a variety of icons and artists to the city for its inspiring quality and treasure troves of figure heads to work. This weeks Throwback Thursday for June we remember the Rolling Stones passing through Chicago to leave their mark in music history!
When Starting their first tour in the United States the Rolling Stones first arrive in New York, June 1st, 1964;just a few months after the Beatles make their US debut. Following a few radio and television appearances and live performances the Stones note the absolute highlight of their trip: Recording at Chess Records on Michigan Ave. Owned by two Polish brothers Leonard and Phil Chess, it is home to many legendary blues artists such as Willie Dixon, Howlin’ Wolf, Chuck Berry, Buddy Guy, Bo Diddley, and most notably Muddy Waters. These Chicago Blues artists have been the driving force in the creation of the Rolling Stones. It is there they recorded some of their first hit singles to top American charts, already being popular in England.
June 10th, 1964 the Rolling Stones land in Chicago to record in the US for the first time at Chess Records Studio, the leading Blues recording label in the 50’s and 60’s. Legend has it that Muddy Waters was there himself to help the artists unpack. “2120 South Michigan Ave was hallowed ground. We got there on a last-minute arrangement by Andrew Oldham (manager)”, Keith Richards wrote in Life Magazine. “There in the perfect sound studio, in the room where everything we listened to was made, perhaps out of relief or just the fact that people like Buddy Guy, Chuck Berry and Willie Dixon were wandering in and out, we recorded 14 tracks in two days“. The studio would be later immortalized by the dedicated song 2120 South Michigan Ave.
It was in these two days their EP Five by Five and much of their second studio album 12×5, that both featured the address title track, were recorded. Keith Richards was quoted saying, “Everyone in England at the time was incapable… No one could get a really good funky American sound which is what WE were after. The best move we could possibly do was get to America as quickly as possible and record there”. Coming out of the sessions also is their hit single Its All Over Now that claimed their name to fame in the US. Other notable songs would include Time Is on My Side, Look What You Done and Down the Road Apiece. They would later return to Chess months later in November 1964, during their second US tour, where Kieth Richards lays down the riff to the legendary (I Can’t Get No) Satisfaction.
Between sessions the Rolling Stones hold a press conference June 11 on Michigan Ave in front of the Tribune building. Mick Jagger was noted stating, “We have changed a bit since we got famous. I mean, how would you like to sing the same seven numbers every night? I may not be much of a singer but there is no artistry in that. Still, we do have fun as well“. Police later arrived to break up the press conference but not before jeering, “Get outta here or I’ll lock up the whole goddamned bunch“. The Rolling Stones never returned to Chess Record but held a big roll in bringing the Chicago Blues sound to mainstream audiences.
In the vast ocean that is Chicago’s contemporary music scene, standing out is much easier said than done. However jazz vocalist MorganPirtle has managed to do just that, which is why she is this week’s Woman Crush Wednesday honoree.
Pirtle is a storyteller through song. Her lyrics are conceptual and introspective, with each song of hers serving as a tightly-woven meditation on a certain aspect of herself. As a vocalist she does an outstanding job of assuming the role of lead character on whatever story she is trying to communicate. Her vocal performances are believable and convincing, packed with emotion and vibrancy.
Pirtle is a recent graduate of the University of Illinois-Chicago (UIC), where she graduated in 2018 with a degree in jazz studies. There she blossomed under the direction of vocal professor Cheryl Wilson, following in the footsteps of one of the best in the business. Aside from Cheryl Wilson, Pirtle has also worked with jazz legends such as bassist RufusReid and vocalist DeeAlexander, among other greats. Having the chance to collaborate with modern jazz giants has no doubt left a huge impact on Pirtle’s artistic maturation.
Pirtle has performed at many prominent Chicago venues over the course of her young music career. She has graced the stage at numerous local spots such as Sofar Chicago, Schubas, Emporium, The Chicago Jazz Showcase and even the Shedd Aquarium as a part of their Jazzin’ at the Shedd series. Perhaps, however, her biggest performance yet came back in 2018 when she performed at the Chicago Jazz Festival with her band, Morgan Pirtle + 5.
Pirtle has ventured her way into recording as well. She recently put out her debut EP Muse, which dropped back on April 18. Packed with soaring musicality, virtuosic live instrumentation and introspective songwriting, Muse serves as a brilliant, cohesive example of taking older elements from genres. Taking jazz, r&b and indie and fusing it all together to give it a sound that is modern and lively. Sounding more musically mature than her age would imply, Muse really is a stunning debut and has helped Pirtle stake her claim as one of the leaders of the new school when it comes to Chicago’s jazz and contemporary music scenes.
Pirtle has seen avid success as a performer as well. In 2018 Pirtle was named as a Luminarts fellow in the jazz category, also winning the people’s choice award in jazz. In the same year, she was named Outstanding Undergraduate Vocalist at the 2018 Downbeat Magazine Student Music Awards. Possessing the maturity of a musician beyond her years, the conceptuality and hardware to prove it, Morgan Pirtle is a name you will definitely want to familiarize yourself with if you are involved with the local music scene. She is already making moves, but with many more years ahead of her she can only go up from here.
As a part of a recent revamp here on the Ever Evolved, we will be doing an Artist Of The Week segment every Friday, shedding light on a Chicago artist doing big things on the local scene. Surely enough, being tasked with writing the first installment of this segment, the second this occurred a certain artist immediately popped into mind: Musa Reems.
A native of the Austin Neighborhood on Chicago’s West Side, Reems comes from humble beginnings. He began rapping at the ripe age of 15 as a part of the Children of I.L.L.I.O.S. artists collective. Reems is also a fan of underground and conscious hip-hop from an early age. He cites spitters such as Black Thought and MF Doom as being among his biggest influences.
Over these last few years, Musa Reems has blossomed into one of the crown jewels of Chicago’s underground hip-hop scene. With his music being featured on numerous blogs, most notably Fake Shore Drive, Lyrical Lemonade and ELEVATOR Magazine among many others. Reems has been steadily building a buzz for himself that extends well beyond the city of Chicago.
Taking directly from his influences, Reems packs his verses with razor-sharp wordplay, colorful personality and vivid imagery covering the harsh realities of Chicago’s inner city. Reems also has a wide array of flows at his disposal and frequently delivers his verses with a poignant sense of passion that makes you believe every word he is saying. Especially lately, all of the technical skill that he possesses has really started to pay off.
During the month of May Musa Reems gifted his fans with his Musa Mondays series, where he dropped a new single every Monday for the entire month. These five cuts showed a staggering amount of diversity when it came to sounds, lyricism and flows. Reems capped off the series by dropping a compilation EP, entitled Musa Mondays, which included the original five cuts plus an additional bonus track for listening pleasure. This 6-song, 14-minute offering just might be Musa Reems’ best release yet as there are some serious highlights on here.
There are some gritty street rap cuts on tracks such as Quarter Juice where Musa does nothing but drop straight bars. The way Reems portrays the bleakness of street life is second to none and he exudes a sense of easy-going confidence on the mic that is contagious. In contrast, there are more stripped back tracks on here such as Not Know, which are far more somber and self-reflective in tone. Lyrically Musa Reems shows an incredible amount of honesty and introspection showing the complexity of being human.
Having recently been published in publications such as 4th Shore Hip Hop, Insomniac Magazine and even the Chicago Reader, it is clear that the world is starting to take notice of this talented Chicago wordsmith. If he keeps grinding the sae way he has been, it should only be a matter of time before he blows up beyond measure.
Stories You Can Tell Yourself is a 15 song album filled with dynamic sonic texture, lyrical prowess and witty humor. Every song relates to themes and ideas of identity, power of the mind, opportunity, self examination and the idea of what we tell ourselves may not always be there to help us. This record explores what it means to be a product of our own writing and the narratives we architect for ourselves. The record features a heavy lineup of Chicago artists such asCantBuyDeem, Beloved Gang, Danny Biggins, Zombie Manana, Dustin Borlack, Dissonant Dessert, Femdot, King Rozzie, Greediphresh, Tomcat Trumpet, Wessie, Super King Reza and Eshe. The producing, recording and engineering of the project was done in house by Brad Kemp at Second Bedroom Studio.
You have to give it to Chore Boy on his hook song writing. That was the thing that stood out the most beyond the amazing production quality and solid lyrical rap verses. My favorite songs on the album due to their strong choruses were Its About Time, Clean, Hero, Get The Bag and Blind Man Laughing. All of those songs on the LP will have you singing along whilst evoking emotion, thought and possibly nostalgia.
The catchiest chorus and the most impactful song on the project to me is Get The Bag with the hook that goes, “Get the bag, I gotta get the bag, Thank god its Friday yeah, I’m blowing it, thank god its Friday, I’m gonna get it in.” The whole song questions this life cycle we find ourselves in with exchanging our time for money. Chore Boy has lyrical phrasing that hits home and is quite relatable to the human financial struggle with lines such as “I’ve had never had a dollar that was worth a dollar… Time is money, moneys phony, whats that make time” and “If I could put my fellow man down, for a handout, then we all must be outstanding, or a standout.” Listening to that song can send literal shivers down your spine having you pondering financial freedom.
Next song that stood out was Clean ft. Tomcat Trumpet. “Clean, you won’t find no trace of me, but the bible in the drawer got a page missing, I took it with me“. A solemn and melancholy ballad that seems to speak on a past relationship, love, the idea of god and leaving old things behind. This song is best while driving in a car towards the sunset! Trust me, it will put even the most masculine of men to let their guard down.
“Blind man laughing when you tell him you’re free, are you free? Blind man laughing when you tell him you’re free, what does he see?“. The guitar melody coupled with the beat on this song is phenomenal, as are the lyrics to go along with it! “They call television programming… human centipede, feed itself shit are we selfish?”. This song expounds the idea of the human being that does not know they are in chains, a sonic allegory of the cave.
The song Hero ft Greedipresh stood out the most because of the fast sing rap style of the hook with lyrics. “This for every hero in their narrative, villain is irrelevant comparison, how you think a fiend will justify the use of heroin, continuing the narrative, the story they inherited“. Greediphresh adds an introspective an honest verse about his arch and the trials he has had to face and overcome.
Every song on the record has an important message to chew on, paired with a well written chorus or hook delivered charismatically by Chore Boy. Mix that with Brad Kemp’s talent for producing and a long list of Chicago staple features. The combination cements this LP as a strong foundation for Chore Boy’s catalog and career to come. Exciting to see where this album takes him and Brad Kemp! Catch Chore Boy and guests performing songs from Stories You Can Tell Yourself at Tonic Room this Thursday night in Chicago!
Thus begins the weekly historical section of Ever Evolved popularly titled Throwback Thursday. We will use this section every week to highlight a specific historical event pertinent to the city’s upbringing and colorful past.
On June 6th 1892 the private company Chicago and South Side Rapid Transit (later renamed South Side Elevated Railroad) conducted their first ever L ride that morning at 7AM. The trains spanned from Congress to 39th street, now the south section of the Green Line, and extended to Jackson Park shortly after. The portion of the elevated line that ran between State and Wabash became to be known as the Alley “L”.
The early train car models featured wooden varnished and cushioned seats. Rides cost a nickel, ran for 24 hours, were lit by gas lamps and the steam-powered locomotives pulled the trains. Customers would have to deal with some steam, smoke and cinders from the engine but this was normal for the time period and the technology.
In fear of people falling of the platforms and onto the tracks they installed railings. Unfortunately these were cumbersome and did not always line up with the trains sliding into the station. After a short while they were removed. The Lake Street Elevated Railroad, today as the west section of the Green Line, was completed a year after just in time for the 1893 Worlds Fair held in Chicago.
In 1895 the Metropolitan West Side Elevated Railroad added their services to Logan Square, Humbolt Park (demolished), Garfield Park (replaced) and Douglas Park areas branching off from downtown Chicago. Parts of this line is used now as the Blue and Pink Lines. It is the first of Chicago’s transit lines to be electrically powered and the first non-exhibition rapid transit system powered by electric traction motors in the United States. This technology was demonstrated on the “intramural railway” at the World Fair in Chicago.
The Northwestern Elevated Railroad emerged in 1900 with the original deadline being 1899 but construction temporarily halted two years prior due to financial backing issues. After an inaugural run declaring it unsafe, the company defiantly ran a train to the Loop, transferring onto Lake Street Elevated to avoid police. Eventually the company and the city reached an agreement. This line ran from the Loop to Wilson with a branch extending to Ravenswood and Albany Park. The branch now operates as the Brown Line while the main line to Wilson operates as the Red and Purple.
The merging of the South Side Elevated, Lake Street Elevated, Metropolitan West Side and Northwestern Elevated Railroad private companies created the Chicago Elevated Railways Collateral Trust (CER). Laying down the ground work for Chicago Rapid Trasit Company (CRT) in 1924, they continued under private ownership. After the opening of the subway system in 1943, by 1947 it merged into the Chicago Transit Authority (CTA) we know today following a public takeover. Since its start over, 125 years later the CTA sees more than a million riders daily and has a combined 224.1 miles of rail. The rails are now electric, cleaner, and quieter.
Always dressing fashionably quaint, in the middle of a crowd she appears as art, observing with wide eyes and a shy smile. She is not making any kind of fashion statement however, Livia Gazzolo patiently waits her position on stage and behind the mic. As violin and piano by her supporting artists fill the air she walks up to her personalized microphone. A vintage styled mic similar to that of Elvis Presleys studio mic, comparable to a Shure Deluxe. As soon as she starts singing softly, through a soft smile, to a classical jazzy style tune, her appearance and flow makes sense; perhaps she is an old soul unfiltered?
A woman of many talents and ambitions she is one of many to take note of in Chicago’s growing local music industry. Primarily a vocalist she uses that talent exotically and seemingly effortlessly, welcoming ears to a fresh novel sound. Stationed in Chicago’s Wicker Park area, popular for its vibrant local music and busy nightlife, Livia found the perfect spot to grow her talents and expand her influence. Working two events a month, one self produced and coordinating with her band mates, Stefen Hess, Mr. Eugene, Will McGing and Jake Gordon, she is definitely making her mark known; supporting the local industry as a rising artist herself.
Not just any new up and comer, Livia is a seasoned vocalist putting in hours, dedication, education and practice into her craft. You cannot just wake up and possess her experience and knowledge simply put! Making it a serious commitment by the age of 15, Livia has studied and performed with David Lahm, a pianist from New york, since then. Now she is currently finishing her Bachelors in Professional Music, taking her talent and knowledge to a whole different level.
Adding some mystique to her image you can really only hear Livia’s music through live performances at one of her events or other shows. She produces her own in Wicker Park’s Flat Iron Arts Building called the Mouse House “When The Cats Away”. Appropriate to her chique, it is a cabaret styled variety show featuring local artists from Chicago and other artists she has connected with. She hosts, coordinates and performs at the Mouse House monthly, every 2nd Saturday from 8p to 10pm. It is the best way to catch her in action doing her thing!
You can also catch her performing at the Atwood Cafe with her band. This event is on the 3rd Saturday every month. She will be booked for random other events like her special featured performance for Empower Herstory at HVAC Pub in Wrigleyville. The more ears get on this unique spectacle and the more artists Livia connects with through supporting local on her own shows and others, you can bet there will be more opportunities to see her live looking ahead. Maybe you will catch her at your local cabaret music parlor, give her a follow on her social media links below.
Carries himself with confidence you can sense his composure through his voice. He backs it up with powerful lyrics and a team of talented artists. Keeping true to his word, “I don’t no one to put me on, I got my brothers I am not alone” with Martell DB, Jazmyne Fountain, Kid J and Sonny Trill on the bill he got an army of wordsmiths. This 32 bit: Gangly Medium sees Greediphresh more comfortable and deeper in his zone, expressing a more bragadocious and witty attitude.
His first two of the five track EP, Level Up and Fly Away with Martell and Sonny, come off vainglorious as they explain seizing the fruits of their labor. Following Martell’s verse Greedi seals Level Up with “Audience expanding, pockets are expanding, I’m gon’ buy another wallet that’s elastic… I done turnt this from a hobby to an asset“. Bridging into Fly Away, they go from enjoying promiscuous women to lavish living and packed shows, flashy jewels cars n clothes. All without stuttering, speakin clear, Greedi’s energy really embodies the verses he is expressing and he is complimented by Martell DB & Sonny Trill and raw beats perfectly.
Judas and Effortless with Kid J and Jazmyne Fountain takes the 32 Bit on a whole different vibe as Greedi looks into deeper perspectives on himself, life and love. “Been creative for focus, dedication to my craft I’m like a capsule of motives, ridding the public of disbelief“, from Judas he continues, “I make them all hopeful, I understand that with this plan, certain friends have been chosen.” He clearly holds an understanding of the discipline n sacrifice it takes for the success he asked for and the level of honesty required he expresses in the next song Effortless. Love is a challenging concept, only the strong survive and the communication observed between the two artists is all you need to hear on this beat.
Closing it out with Flower, it exudes gratitude and god like confidence. Balancing being humble and grandiloquence, he covers a lot of areas in just few tracks. You can find a lot of wisdom in each track like, “I aint in a place to judge nobody else, i don’t really know nobody else. I know my make and i know myself… Quit lookin for a plug and plug yo’self“; from Flowers main hook. A strong following from his previous project 64 Bit: Hard Times, which uncovers even more of Greedi’s lifestyle and ideas in raw manner. With such a phresh style, you should be looking foward, like us, to more of what he has to uncover.
“Why a rapper gotta die to be famous?” chants Marko Stat$ from Uptown, Chicago ready to spit raw bars in his latest single, capable of changing paradigms! Following up after his single Never Be A Robot, he is keeping true to that ideology. Coming back with Pedal To The Medal and Dead Famous with none other than Aced Spade. Between the two tracks the lyrical versatility is as seasoned as a young veteran would be.
Marko Stat$ takes all his free-styling and storytelling experience into Pedal To The Medal. Starting with a literal story about a police encounter as a teen just learning how to ride a bike. He then blows up on the mic with intent and passion; “Its pedal to the medal for any person who’s bonafide… cycling through the cycles, recyclin’ traditions of bein crooked, had the chance and I took it… I can travel through any gravel and handle...”. So lyrically adept you cannot comprehend every word but the message is clear in bars like, “my propositiong to speak on the proper vision I stand by my composition, I pedal to be consistent“.
The introduction story can be a literal metaphor for the title or, looking deeper, the challenges POC may face reaching their medals, or potential. Unnecessary incidents towards a minors like that can influence you negatively, Marko Stat$ on the other hand is headstrong. “I don’t need me a gold medal to say Im a champ, angels watching my every move, they keepin me in check.” Referring to his late family members, his roots and his identity keeps him in focus.
Continuing with his concept of being true to himself, paving his own path rather than follow anothers image. Going over how hip hop communities are misled in Dead Famous. “Peep the cycle that they suck us in, what the fuck is up, they got us stuck… Rap should be so beautiful, f**k you think I do this for?“. Marko Stat$ is on a mission to wake up the culture and inspire with the lyrics he recites. “I’m trying to take our culture back, its full of vultures they invaded we on full attack. I break the cycle with no rifle, I can move the pack.” With a vision that clear he will not have to wait to die to get famous.
These two releases should remind you of his Marko’s abilities on the mic. He is able to tell a story and follow up with lyrics that aim to inspire, while keeping it fresh n catchy enough to bounce your head to. He also has an impressive ability to bounce between more slower beat and verses to freestyle inspired flow with bullet fast lyricism while still maintaining melodic flow to keep you hooked.
First introduced to Mike Negus aka 2nd City Son in early 2019 at a showcase featuring Bombay Boyz, Unkle Slump and the EWOKK at the Donut Shop in Joliet. Keeping in contact since and following his music, How To Raise The Dead release got our attention. Longtime friend of 2nd City Son and collaborator Chino Bean provided all the instrumentals. 2nd City Son did all the recording, mixing and mastering! The fact that there were not too many hands involved with the creation of this record give it a really clean cohesive sound; dusty boom bap, back pack rap with crisp, slightly distorted vocals. This record leaves you grinning from ear to ear after all the witty punchlines and references that 2nd City Son cakes throughout the entirety of the raising the dead experience. Or as we like to think – elevating consciousness of the masses through poetry and music.
How To Raise The Dead starts out with a fat bass beat for the first song called Raise the Dead, introducing 2nd City Son and Chino Bean using a unique sound bite that sounds like a sports announcer. 2nd City Son flows effortlessly with a raspy sing song flow beginning the LP off to great start. Awesome Sauce is a dark melancholic piano boom bap instrumental with a cynical raps like, “And I do it again, look inside the mirror like who is this kid?!” and “My life like if I compare it a movie, so do me I’m American Beauty!“. This song sets the tone for the rest of the album being a lyrical piece to reflect on all the references 2nd City Son lays out for the listener. This whole album is reference heavy, giving a listener much to digest in terms of metaphorical ideas.
You Don’t Really is the third song off the record portraying a realistic yet optimistic view of issues ranging from the music industry, lost aspirations and depression. Coining this idea that normal people are not ready for the trials and tribulations that he has had the misfortune to experience – “They don’t really wanna hold this pain!“. Most every song on the record is around 2 minutes long allowing for transitions of ease and a palatable overall experience. Thirteen tracks, most being short and sweet with a couple longer ones to challenge the listener’s patience and attention span.
Hope You Listening is a melodic bell heavy track, offering the listener to come and rock with 2nd City Son – “And yeah we ride the wave, so come and rock with us, yeah come hip hop with us!“. “Tiny awkwardness, hold up my accomplishments, your ears are all hostages!“; This track is a prime example of the overall theme and idea about raising the zombified humans’ consciousness ie I hope you’re listening. Hunters Rule Book was a personal favorite from a lyrical standpoint. Lines like “Rule one number leave it alone if it floats, and rule number two, stay away from them boats, cause all them murky creatures gonna throw you off the ropes” and “tough skin you know we leather bound, lord gnomes its time to settle down… whatever we did, cable capture but in the post apocalypse reign masters” stand out.
2nd City Son starts hitting this next instrumental on his probably most notable track with Too Much. “And I don’t want no cash back, and no i dont want no cash app, back in the day I got back stabbed… We don’t want no fucking gats clapped, I want a fun time, I want back packs, i want boom bap, i want skateboards, I want pudding pops, I want snap backs!“. He ends the track with a reference about seeing the underworld. 2nd City Son features Unkle Slump, The EWOKK, and Wilhelm Duke. He saves the three emcees for the latter third of the record as a sort of treat for the consumer, tying up the LP seamlessly. I will save you descriptions because these three tracks are gems just go bump them on bandcamp and donate to support independent recording art!
Slippin is a track with one consistent rhyme scheme he pulls off for almost 2 minutes. Notable lines would be, “Modestly, yeah Im known to release, killing the game i hold the chrome to the beats, all you little chickens you the bone to the meat, and all you little bitches you been known to be freaks.” He continues with, “Im dope, you sold dope to the geeks, we sold os we got boats on the beach, you sold toast you should go brush your teeth, black market hustle we the ocean kapeesh, chosen, golden globes for the week, potion, propellers floating the league, bird bath, put the gold in the beak“. A literal monstrosity of a rhyme scheme that goes on for a while. If you listen close is quite impressive and the metaphors hit that euphoric feeling!
I am excited to see more music coming out of 2nd City Son and his camp. He with out a doubt is elevating the taste and reputation of recording artists hailing from the suburbs. He stays true to the craft, offering timeless authentic appeal and a record to digest for any fan of good hip hop. You can listen to the full album on his Bandcamp linked here and below.