Consisting of T.R.U.T.H. and Klevah Knox, this duo rising out of Chicago are a force on a mission. Mother Nature aims to inspire fearlessness through peace and love and help raise the frequencies of our collective conscious through thought provoking Hip Hop lyricism. Lending a powerful voice for Black Women, not only in music but politically as they raise awareness on social issues. With their attitude and style they got just enough flare to direct their message effectively.
The two pop into Chicago a few years back with their self titled debut album around 2015. Tracks like SAY HER NAME from that album screams out the oppressive nature toward women of color. Even tracks like MOTHER NATURE and TAKE IT FURTHER note the urgency to help society and earth itself from destruction. T.R.U.T.H. and Klavah Knox somehow place these ideas into party anthems, attractively disguising activism.
Fresh off a more recent release, Mother Nature is riding off the energy from their PRESSURE EP. Promoting the project strong pre release with a music video for SIMPLE, they are back again with more visuals. For the cover title track PRESSURE, they personify the weight of everyday hardships in life and how they push right back in their latest music video. Placing awareness onto law of attraction, relativity, cause and effect, ego, energy and more ideas, Mother Nature continues with their revolutionary ideas and lyricism over raw beats with this project. Follow these minds and be inspired!
It is an artists duty to tests peoples perspectives, making people react negatively or positively. To either arouse, ponder or offend! In this case the Chicago duo Taking Hits Constantly hopes for the latter. Popping back in with the twelve piece album, HOPE UR OFFENDED, as if they never left but their growth is apparent. Passa Spliff and Liquid G may take their time with their craft but when they do things they do it big! Coming off of a collaboration with Probcause, JR James and a music video following their previous LP MHX, their playlist is flawless.
Every song is produced and written by THC, they keep the foundation of the LP pure bred, inviting a few features cause they do it big; like we said. Starting the album out with a party co hosted by Jaxx Stone on DO WHAT WE DO, giving an idea of the direction this LP is goin. The two experimenting with other genres but sticking to their Hip Hop roots. The funk and soul vibe continues with ROBOTS featuring Nick Ledesma, already trying to push your buttons lyrically. “When I’m on the mic zip it, you know what I like? Different. All these rappers the same. Hip Hop back from the gave? Now wouldn’t that be the day“.
Lyrics preparing you for what Spliff & G got for you with J.R. James who features on 5 tracks in this LP. Getting wild on YOU DON’T WANNA and EVERYTHING, each got the energy to get you hype before cooling down with some R&B flow on LET GO. Continuing onto KEIF BUTTER EVERGLADES, a beat that straight up bumps as the two spit raw verses, they continue the underground Hip Hop energy for remainder of the LP before they cap it off with Vasily on MEMO TO THE YOUNGER ME.
Included in HOPE UR OFFENDED are their previously released tracks THIS IS FOR ME, for which they made a Music Video for, and their release with Probcause and J.R. James CARPET RIDE. Again noting how they take their time with their work. You can hear in their lyrics their wisdom, composure and adaptability to different genres how they have evolved from MHX and their previous work. Style and determination as such keeps them going, offering them opportunities like opening up for Method Man and Redman in August at Joes in Rosemont, Chicago. If you know what is good for you, grab some Taking Hits Constantly for your playlist on Apple Music or their links below.
One of the things find most exciting about being a music fan is continuously discovering brand new artists. The most recent addition to that list is Chicago pop-rock band The Mild West. They just dropped an instant hit with their debut single entitled ORANGE GROVE, which is why they are this week’s Artist of the Week.
On ORANGE GROVE The Mild West show a great deal of musical cohesiveness as the instrumentalists move steadily as a unit. The pulse of the song is consistent as it is contagious. This is definitely a song you can get down on the dance floor to. Lyrically The Mild West show a great deal of maturation as well. Despite the carefree, poppy aesthetic, ORANGE GROVE is a poetic tale that paints a vivid portrait of a growing love story. The lines are pensive and contain a logical flow.
Though they only have one single out The Mild West is definitely a band to watch on the Chicago scene in the coming years. The Windy City has a rich history of commercial music and The Mild West look like they will surely help carry on that tradition. In a city whose music scene is as crowded as Chicago’s, it is surely exciting that bands such as The Mild West are coming up with their own sound in 2019.
Digging deeper into the diversity of Chicago artists we find people from different genres, mediums, ethnicity’s and more. This week we highlight Pauna for Women Crush Wednesday following a music video release. Introduced to Pauna at an Ever Evolved Midnight Marauders Open Mic event, she signed up to present her music among other artists. With a very calm demeanor she steps onto the stage and explodes into hip hop verses, impressing the crowd with her speed and word choice.
Residing in Chicago Pauna frequents local shows to support her fellow music artists in her circle of creatives. Getting the chance to perform here and there she recently had events at Ate Music House and HVAC Pub, giving audiences a taste of her unique hip hop style. Every artist personalizes their music to be representation of themselves, differentiating from others. Pauna blends her hip hop with wordplay through languages.
Being from a Serbian background you can hear her mixing English with some Serbian dialect. Most notably in her music video for her single IDIOTI, her native language plays a big role in the track. In the music video you can see how she places her hip hop lyricism and production in a more gothic setting and fashion more attributed to European culture than hip hop. Her most recent music video release for THE WAY YOU TREATED ME AWOKE ME takes on a more natural setting as the beat is more slowed down. Taking on a more soulful R&B vibe, you can see how she can carry into different styles with ease adding to her potential to experiment with different sounds. Keep extra eyes and ears out for Pauna she just might surprise you!
Powerful: The word that comes to mind most often when thinking about Gaby Rose, her debut single OPEN LETTER and the launch of her music career. Introduced to Gaby Rose while at one of Ever Evolved Midnight Marauders Open Mics hosted at InnJoy in Wicker Park, she signed up and went on towards the latter end of the night. Her voice is soothing, sultry, low-alto with a whispered intonation. Her sense of rhythm and lyrical acumen is impeccable. Every single line flows well with the instrumentation and every lyric hits you emotionally to the core.
Her songwriting paints a story overall but you have to listen through to the end to make sense of it. Only available to hear her music outside her live performance, until now, her one song set was remarkable to say the least. Her singing had people cheering, clapping and getting up out of their seats. Upon finally hearing her debut single on record, it was just as impactful.
Gaby Rose came through to another Ever Evolved event, Delirium IX, this past Monday hosted at Subterranean in Wicker Park. Not only is she an incredible songwriter, vocalist, and performer but she is also a down to earth person that comes out to support local music! She might be newer to the scene, but her talent and character is undeniable. Highly recommend you all to go bump Gaby Rose’s debut song OPEN LETTER. Without going into detail on much of the content on her single, know it represents selflessness, maternity, womanhood and yes, even manhood.
Artists may tend to change up their original style and approach to their creative expression. It is how they survive, It is in an artists nature; they are not one single idea but many out of the box projections. Manic Focus, also known as Jmac, is known to change up styles constatantly. Between hip hop, bass, and some electro funk, even a mixture of all of em may occur, Jmac got plenty of room to express himself any which way he likes. His last two releases are a good example of experimentation between songs!
The older of the two, Never Grew Up, may be what you typically hear come out of Manic sets. Some live instrument samples followed by wonky bass lines, choppy synth work and a dynamic beat pattern to a slow bpm. All creating a groovy and tranquil energy as “we never grew up” echoes repeatedly reminding us, we are in this for the fun! A sound so familiar with Manic it can probably land under its own genre.
Fans of Manic might find his latest release All This Is hard to swallow, with an introduction throwing them off to more of a house bpm structure. Following the build up however Jmac brings it back with dark metallic bass lines and chops exuding a menacing energy that would throw a crowd into a frenzy. Living an industry surrounded by all types of genres it is only right for an artist like Manic Focus to experiment and inject his madness into it all.
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.
“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.
Who could perfectly encapsulate what its like to grow up in the South Side of Chicago, ie Englewood, in the most poignant and palatable manner such as Deem Beamon aka CantBuyDeem? First of all, its lovely how this record paints pictures of poverty in a braggadocios and playful manner, not glorification and idolization but instead, a peer into the life of a young ambitious black man weathering the storm of racial politics growing up in Chicago.
Rather than break down the album song for song lets dive into the philosophy of how impactful CantBuyDeem’s story telling can be. He utilizes lines in his first song Alone like “Home alone, all the time momma got it on her own, only thing she couldn’t afford so I started moving shit, corner boy, corner stone of the city that got him enslaving a n***a, but I still do this shit!… and the grind was all I gained from the gangsters”. As well as “they had a n***a try to set me up for a couple petty hundreds…knowledge is pain, I’m a sponge I just soak up the game, so just in case it gone rain, we say be safe instead of see ya later”. A common phrase from Chicago folk implying that the city is inherently dangerous and random in its criminal activity, to take precaution when traversing the concrete jungle.
To continue on this same train of thought, here is more lines referencing the trials and tribulations of coming up in the disenfranchised neighborhoods in Chicago. In STO he quips “grandma used to send me to the store for her cigarettes, with a written note and they would go and really give me it.” In the song he references having to hide his new Jordans or else he would get in heap of trouble. In Saudi he notes “I used to sell weed to the deacon used to smoke bowls with the teacher“. Then he adds lines like “head leaning on the big booty like a beanbag say she cooking up the ramen I want 3 pack.” The way CantBuyDeem mixes punchlines with a storytelling narrative is honestly remarkable. It makes you vibe while thinking of the human experience. Its something un-quantifiable and quite reminiscent of Kendrick Lamar.
CantBuyDeem likes to pay homage to Chicago slang with track names such as Sto, Allcaps, Saudi, OT, IFU, etc. Another addition in painting the picture of Deem’s colorful upbringing. The title track of the album sits at the core of that picture. In Chili every line Deem spits is directly a reference to a Chicago homie or family member of his. If you really know CantBuyDeem then you might understand some of these phrases and similes he uses to compare those that surround him.
In Character, Deem philosophizes the idea of being steadfast to one’s beliefs as opposed to bending to another’s will. The idea of your character being in question if you were to act like, for lack of a better word, a bitch. In that song he still has an overall narrative he is keeping to except he is describing more general instances with goofy types – Or someone in Chicago that acts afraid and nervous all the time which infers that there must be a good reason why. Acting goofy or scary is a Huge indicator of how to progress forward with an individual. This type of archetype and circumstance has been normalized in Chicago.
CantBuyDeem employs a number of peers including Windy Indie, a violinist who has been making waves with her violin remixes of popular hip hop anthems. Chai Tulani, a Kenyan recording artist with a strong African fan base, unique style and rhythm. Illy Muse, Winnie Page, Sleepy Brotha, and SharmonJarmon, to name a few more! This record is as authentic as it gets to perceiving the harsh realities of Chicago living yet still sitting proud and shining through it all. CantBuyDeem makes his art and his craft come off effortlessly and with ease. Deem, Chicago’s playboy, intellectual and savant extraordinaire, following his single Tony Stark has released another record of potent homegrown intimacy and shocking memories. CantBuyDeem’s “Chili” is available everywhere.