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Knowing their origin doesn’t make the track any more amazing, but one of the strengths of RP Boo’s production is how he flips material that other producers would never think of working with.įrom his fingers to those bank pads to your shoe prints, Boo is waving the footwork flag high. While long sought-after tracks like the hypnotic “Bang’n On King Dr” are set to get dancefloors in a tizzy, it’s the quirkier side of RP’s production like “Heat From Us” that contains easter eggs, well-known samples that are looped into obscurity until the middle of the track.
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With his second album Fingers, Bank Pads, & Shoe Prints, RP Boo continues to showcase just how intoxicating the 160BPM frenzy known as footwork can be. While it’s easy to wax poetic about the sound of footwork, legends like RP Boo put it into pretty easy terms: producers use their fingers to mash up the bank pads on their drum machines to make tracks that will leave shoe prints on the dance floor. RP Boo - Fingers, Bank Pads & Shoe Prints Most importantly though, SremmLife never tries to do anything more than that, and that honesty is a big reason for its success.- Katie K The album’s 11 tracks, with hits like “No Flex Zone,” “No Type,” and “Throw Some Mo,” are hip-hop at it’s most fun, with high-energy production and playful lyrics. It invites you to tell all your worries and responsibilities to fuck off, asking you to indulge in an epic turn up instead. It’s a story like this that exemplifies the mentality of Rae Sremmurd’s debut album. Swae Lee continued after Slim was taken out on a stretcher, putting on the same rambunctious, wild, and unpredictable show they would have done together. Instead of playing it safe, Slim Jimmy jumped from speaker to speaker, fell off, and split his leg open.īut the show didn’t stop. When Rae Sremmurd performed at this year’s Governor’s Ball festival, it was raining heavily and the equipment on the stage was slippery. Sometimes infectious, sometimes stunningly aggressive, Paradise put Cartier in the discussion of rap’s next big thing. Melodramatic voicemails from former lovers, timely interludes, and song-ending monologues add an entirely different palette to the mix. It can be overwhelming, but even when Cartier comes off as uncontrollable, his attention to detail keeps you invested. Jazz can be a reckless, frustrated youth on his tracks, but he also possesses a rough croon that comes out for weightier moments of introspection. Marauding in Paradise plays up to its two-sided name. Meanwhile, Cartier shows you spots the 6 God might be too big to know or care about, inhabiting that hungry space of the growing artist. Both artists spend considerable time in dark places, but lover boy Aubrey maneuvers dimly lit clubs and feelings, with two women under his arms and a third on his mind. Jazz Cartier is much-needed evidence that more than just Drake controls the juice up north. But when we take a step back and realize the amazing work artists can create in just one year, it all seems worth it.
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It can be overwhelming trying to keep up with the endless amount of new music, especially in 2015. We’ve had a crazy year at P&P, too: our No Ceilings shows are up and running (come check out the next one on January 20!), and we put out our first compilation album featuring 14 of our favorite up-and-coming artists. There was plenty of new talent, too-the diminishing cost of a home studio is yielding musicians who are creating full-formed albums primarily on their own, like London O’Connor, Empress Of and Georgia. Kendrick Lamar took a left turn at the peak of his powers, Drake played the chameleon and ended up with two albums on this list, and Chance The Rapper took his name off an album cover in the name of social experimentation. Music’s upper crust, however, produced enough amazing work to balance out all the confusion.
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Online communities like SoundCloud are beginning to bend-but haven’t broken-to corporate pressures by introducing advertisements and banning uploaders. Adele seems to be the only person who can afford to avoid them. Downloads are increasingly irrelevant, and streaming is still in the midst of a fierce power struggle between Spotify, Apple Music, and a host of emergent competitors. We seem to be no closer to solving music’s digital quandaries. In a year marked by violence and the unexpected, music rose to the occasion as a potent outlet for frustration, empathy, and celebration.