REVIEW: EMINEM ... MUSIC TO BE MURDERED BY...

Music to Be Murdered By, Cover (Courtesy of Shady/Aftermath)

Rapper Eminem has returned with his eleventh studio effort, “Music to Be Murdered By”, and by no surprise, he doesn’t disappoint. OK, let’s keep it all the way one hunnid… In the current state of hip-hop, I honestly don’t buy a lot of music anymore. In com[parison to me, I stick with the people I know are going to give me solid material. While I listen to a lot of new music as a Journalist, I do find it difficult at times, and am often forcing my hand in the matter, simply because a lot has changed with the game of music. Many are no longer putting in the effort that used to be required. Music has shifted to a state where most can do it all themselves and put their own material out, so in many cases, the standards simply are not there. Artists are literally doing what they want, and paying no mind to the consumer anymore. I think that’s something that many, if not all of us can agree on. In today’s economy, it just isn’t as beneficial to purchase full albums anymore. So I’ll be even more honest in the fact I was not necessarily expecting anything super solid out of this album. It’s no dig to Eminem either; I think he’s definitely one of the best, and I’ve always been a fan. Reality though, is I haven’t bought an album in forever, and most new music I get, it’s been out for some time before I actually hear it. Life will do that to you when you have so many things going on.

All that being said, I’m pretty hyped and excited at Em’s latest. I think it’s truly a solid effort, and shows a tremendous amount of growth for someone who’s been in this circle for more than twenty years. It’s quite easy to see a lot of work was put into the project, and in my opinion, it stands stronger than a lot of what’s dropping today. Real talk, hearing just the first track, the intro “Premonition”, I was eager to hear more. It leads right into “Unaccomodating” featuring Young MA. I’ve always felt Eminem has some the best collaborations, and this here is definitely one of them. Honestly, there’s a number of standouts throughout the album, including “Godzilla” with Juice WRLD, “You Gon’ Learn” featuring Royce Da 5’9” & White Gold, “Marsh”, and “Lock It Up” featuring Anderson.Paak. Truthfully, the entire album is to be heralded, and that says a lot, given current state of music. It may sound silly, but Em and this new effort has kinda given me the boost to listen to more new music in general. I have no problem with supporting any artist I know is giving me quality product, and this is an album I definitely will be buying.

[FEATURES][NEXT-UP] Kindu Hughley

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Born and raised in Cleveland, Ohio Kindu Hughley is no stranger to the music industry. At an age when most kids were out hanging with their friends, he was spending time crafting is flow. Kindu had dreams of success in music, and he would do all he could to make that happen. 

Joining the Inner City Misfitz at the age of 15, the cheers and accolades would come fast. In what seemed to be an instance, he and his group mates were performing at nearly every club in the city of Cleveland, and opening for such acts as Lil’ Kim and Jr. Mafia, Devin the Dude, and II Tru, another local group of rappers hailing from Cleveland who were signed to Bone Thugs N Harmony’s Mo Thugs Records. Their popularity soared throughout the city with the release of their debut album, “Life of a Misfit”, which quickly sold close to 3,000. 

Following the success of their debut, the group members ultimately parted ways, and Kindu took more of a solo route. In 2001, he was featured on a compilation from local label Wild Life Productionz. Soon after, life began to steer Kindu in a different direction musically, and he opted to take time away to enroll in college courses related to Entrepreneurship. Fast forward more than a decade later, and you find Kindu back where he was destined to be. Hughley spent the greater part of 2015 working on various projects, and now, with 2016 here, he’s ready to show the world just what he has in store. It’s time for the world to get familiar with Kindu. He has a plan of taking the Cleveland hip-hop scene to the next level. His brand is centered around unity, which is something the local hip-hop scene has been lacking for some time. 

Connect with Kindu Hughley via:

www.kinduhughley.com

Facebook: Kindu Hughley

Soundcloud: https://soundcloud.com/du10001

Reverberation: https://www.reverbnation.com/kindu

Twitter: @KinduHughley

[FEATURES][ARCHIVES] Yung Berg: Delivery Time [February, 2011]

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Yung Berg has been away for a bit of time, and fans have definitely been wondering where he had landed. Granted, it was nowhere near an eternity [laughing], but three years is definitely a long time to be absent in music these days. It’s been that long since his debut album hit the streets. Most will remember he started as a part of DMX’s Bloodline Records. For Berg, the time away wasn’t all for nothing. He’s definitely been putting in his work, building an arsenal of hits that he’s now ready to drop to the world. Many doubted his return, but for him, it was inevitable. In our exclusive, Delivery Time, Yung Berg lets us in on what he’s been doing during his perceived time off, his connection to Disturbing Tha Peace, the writing he’s doing for so many other artists, and a whole lot more.

U.G. Digital Mag: I have to say that it’s really good to speak to you man and you’re prepping to release your new material. I think a lot of fans have been eagerly waiting for you to drop something new. So I appreciate you taking the time out…what’s been going on with you man, since your last album? Three years is a long time, so to speak. What happens in a lengthy time away like that?

Yung Berg: Well, in between my albums, I got involved in production. People didn’t know I produced for my own album. I was able to work with Dirty Money, Cassie, Diamond, Rico Love, and spread my talents so they know I make hit records. My involvement with “Sexy Can I”, I played a part. I want to get the background. I was able, thanks to Sony, I was able to walk away with a release, and not owe anything. It was the best thing to happen tome. I was able to make my own moves.

U.G. Digital Mag: You have a well-documented journey into the game man. Obviously, you were signed to DMX’s label at one point, and then you later worked with DTP for a bit. Take me back to the time, and how you got with them?

Yung Berg: Shawnna is like a sister to me. She’s been the most influential to me. She had success, and she came and performed at my school when she was with infamous syndicate. It’s not easy for females, so I admired her. She titled my first album. I was around her, soaking up time and influences, she was like you like a 2pac. I never seen nobody work like you. Do a song called look what you mad me. Show you a product of the culture. And things that go on. This is all you. I appreciate everything she did for me. I produced on her album “Block Music”.

U.G. Digital Mag: Any writing for other artists?

Yung Berg: I just got a good knack for good hooks. When younger I ain’t know what I was doing. I knew, but did not know the capacity. “Sexy Can I”, “Tha Bizness”. I wrote all the hooks for every feature, except with Lloyd. With Eve, we shared the same management. I produced on Eve-olution

U.G. Digital Mag: What happened with DTP?

Yung Berg: I did not want to cut into that situation. She gave me an opportunity to learn and be on the road. That was priceless. I appreciate the love from Ludacris and Chaka Zulu. I just wanted to chill.

U.G. Digital Mag: Your debut did very well in the industry. How much of that success were you really expecting in the beginning?

Yung Berg: I don’t know. I don’t wanna be cocky or arrogant, but I always knew beyond the music, I wanted someone to understand me. I knew I had charisma with women, and if I could be seen on TV, I could connect with women. A lot of people come out, they been waiting for certain attention. I just been waiting to be embraced. For women to say they love it, it’s realistic. I take my hat of to them for saluting me and saying regardless of anything going down with you,

U.G. Digital Mag: So talk about your new material and what you’ve got brewing?

Yung Berg: The album will never be done til’ it comes out. I’ll never be done recording. Ray J, Sean Kingston, so many different people. I wanted to limit the album to me. I see the comments. People don’t know I was writing a lot of that material. Since auto tune came around, I’ve been able to sing my own parts. It can be more about me, people can accept me, what I bring to the table, and what I do behind the scenes.

U.G. Digital Mag: What else will be coming?

Yung Berg: The new mixtape will be dropping. It’s hosted by DJ holiday, Ill Will, and Rock Star. Souljah boy, Roscoe Dash, Hot Dolla, Ya Boy, YG, man it’s just a star-studded mixtape. We got a video done by the name of “72 Hours”. A ballad, like outer space. People did not expect me to come with that. It’s dropping a week after Valentine’s Day.

U.G. Digital Mag: Why a mixtape?

Yung Berg: It’s a way for me to get my music out. I create at a rapid pace. I’m releasing it so it doesn’t get stale, and it’s a direct attachment to me as a person. You’ll know exactly how I was feeling. It won’t be a delay on the emotion.

U.G. Digital Mag: What else is going on with you that you want people to know?

Yung Berg: I’m working on Jim Jones’ project, Lil’ Scrappy, Diamond’s project, the Dirty Money project, and so many other things I’m working on. The main focus is my family, Brown and Kenney, young fly movement. Sex and the city is a big deal. I will be out on 106 and park in a week or so. I see you. “Sexy Can I” part 2. I love everybody for supporting me. My #1 goal in life is to stay down. Don’t let nobody say you can’t do shit. Humble greatness.

[FEATURES][ARCHIVES] Grandson: Loot Skywalker [January, 2011]

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U.G. Digital Mag: Thank you so much for your time man. I appreciate you taking the time today to knock this out…You’ve developed a very strong following on the underground circuit. What do you attribute this to? Why do you feel music fans have gravitated to you and your music?

Grandson: Mostly, I always attribute the ground floor to the internet. My brother and I had a group and we worked with MySpace. Passing out mixtapes. Events. On the net, then face to face. I think consistency is the main thing. If they only see you once in a while, then maybe. I come out 4 to 5 months a year. Then quality music speaks for itself.

U.G. Digital Mag: Knowing how rough your surroundings were, obviously you were able to escape the pitfalls, but how do you feel like you were affected by all that was happening around you? And how has that reflected in your music?

Grandson: It affected my younger years. Brushes with the law. Unfortunate situations. Being away from family at time. You can escape it. I didn’t focus on education so fell victim, but you learn from it. It’s a learning tool. Prison made me see that. It shows you that it gets no different if you keep doing the same thing.

U.G. Digital Mag: What has the climate been like around Virginia where you came up? Obviously a number of acts have come out of that area. Do you see that people look back for those who are looking to make it out?

Grandson: It’s pretty much like, I guess, everybody is trying to get away as fast as they can. There’s nothing here but those trying to make it. Nobody is here that made it. They may have studios, but you don’t see it. The underground climate is fierce. It’s strong and on the come up. I build a lot of camaraderie. DJ LES. He’s my mentor. He’s got a studio, and even some mainstream artists come through.

U.G. Digital Mag: How difficult has it been for you to make a name and build your career there?

Grandson: Oh man, it’s been very difficult. It’s all about really, doing what you don’t know. Once you know what you don’t know, then it gets better. I’ve been educating myself on the business side

U.G. Digital Mag: So talk to me about your new mixtape?

Grandson: Loot Skywalker. I felt like the actual Star Wars theme was relevant, because we want to take fans somewhere far away. People gravitate because of the different melodies, and hard edged sound. I use melodies that haven’t been used. Different production.

U.G. Digital Mag: What do you feel like you did differently this time around?

Grandson: Mainly, I’m doing a lot more singing on this album. Vocal singing. I usually mix it up more, but this one was more melodic and singing.

U.G. Digital Mag: So aside from the interviews, what else are you doing for promo? Are there any shows at all?

Grandson: We’re setting up for shows. I’m in the streets with the mixtapes. Promo events. I want to break a couple singles, videos, running out of time, and shorty got me gone. I want to get the streets going and the net going. I have a few viral videos coming out. The mixtape is coming with digital products, untitled, coming out at end of March, and the upcoming album is called Grand Opening.

[ARTIST] Dreezy

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Remaking a song from the hottest artist in the industry is a dicey proposition. For most emerging artists, it’s a bad move, one that keeps them on the musical periphery. For Dreezy, her rendition of Nicki Minaj and Lil Herb’s “ChiRaq” catapulted her to national prominence because of her fiery delivery, ferocious lyricism and magnetic microphone presence. 

“I’m a fan of Nikki Minaj and I like what she did on the original ‘Chiraq’ with Lil Herb,” Dreezy says of the 2014 cut. “But I got the best bars in Chicago so it was only right for me to remix it and represent. The day my version of ‘ChiRaq’ came out her boyfriend texted us saying ‘You won’t last a week.’”

Dreezy has more than outlasted that prediction. Today, she’s one of the game’s most promising artists, a lyricist equally adept at delivering mind-blowing punchlines, riveting street-based stories, introspective selections and odes to true love. Her talent is on full display on 2014’s acclaimed Schizo mixtape, as well as her just-released Call It What You Want EP.

Dreezy developed her writing prowess growing up in a number of locations throughout the South Side of Chicago. By the time she was in kindergarten, she started drawing. Soon thereafter, she kept diaries and began crafting her own tales. 

“Sometimes I wrote really dark, sad stories about rape, murder and violence or stories about rocky relationships,” she recalls. “I remember writing a poem about my grandma when she passed away. I was always telling other people’s stories weaved with mine. I saw and experienced a lot and had to mature at a young age. I expressed it all through my poetry.”

Even as a child, Dreezy’s words were piercing. “I had no filter as a kid,” she says. “I was always saying something and not realizing what I just said. I wasn’t a bad kid. I was just smart for my age and wanted to express my opinion — and it got me in trouble. My mom got to a point where she just couldn’t deal and my dad had to tighten my ass up. When I moved to Dad’s, I learned there’s a time and a place for everything and not to go on first emotion with stuff.”

But the move brought its own set of complications. After getting caught stealing, Dreezy’s father put her on punishment for three months. Rather than sulk, Dreezy wrote to a beat CD she had. She’d grown up listening to Ciara, Bow Wow and B2K. But as a rapper, she was channeling Lil Wayne, Kanye West and Drake.

“When punishment was over I went straight to the studio and recorded all those songs, resulting in my first mixtape, The Illustration,” Dreezy explains. “I was talking about my life and really going hard, just giving bars. My auntie made a bunch of copies and I passed them out at school. The principal heard it, called me in to the office over the loudspeaker – and busted me for cursing on the tape.”
Dreezy’s profane raps were matched by straight-As in the classroom. Similarly, her lyrical skills translated well to her AP writing class, in which she excelled. She applied to and was accepted into Northern Illinois University. Dreezy attended the school for a few months, but dropped out to pursue music full-time. 

In 2013, a friend introduced her to producer D. Brooks Exclusive, the beatsmith whose work with King Louie, Lil Herb and others had him perched as one of the Windy City’s hottest rising sonic architects. “Chicago is known for a hard drill sound and Brooks was the only producer really adding piano melodies and violins, more feeling to his music,” Dreezy says. “And when the sound changes, he knows how to embrace it and make it his own.” 

Brooks produced Dreezy’s Schizo mixtape, which was released in February 2014. Her subsequent work on the “ChiRaq” remix led to her appearance on Common’s “Hustle Harder,” a cut from his acclaimed 2014 album, Nobody’s Smiling. The pioneering Chicago rapper appeared on Dreezy’s “No Good,” solidifying their bond. 

“I know if I ever need to talk to someone, Common can give me some good, sound advice,” she says. “He has good intentions and doesn’t want anything from me.”

Common isn’t the only prominent artist checking for Dreezy. “A few females reached out when ‘ChiRaq’ took off: Rah Digga, Shawnna, Remy Ma, Tish Hyman and some others,” she says. “I’ve already done collabs with Tink, DeJ Loaf, and Chicago female MCs Sasha Go Hard and Katie Got Bandz. Sasha is like my sister. Our friendship started out from rapping but we’re like sisters now. Katie and I are really good friends, too. We support each other. There’s room for everybody. That’s how it’s supposed to be.”

As Dreezy makes her mark among music industry icons and new artists alike, she remains focused on being counted among the genre’s elite. “My goal is to be legendary,” Dreezy says. “Music is my purpose and I want to set the bar — especially for females — and break all the records that come with it.”