The post Review: The explosive Red Bull 64 Bars freestyles appeared first on HYPE Magazine.

 By ubereatzz

As frequent collaborators, PhilaBoi K and THAT$hYHOMIE have a hit under their belt – ‘Mfo’ by THAT$hYHOMIE, featuring PhilaBoi K, Duma Ka Mthombeni, V.I and HAZY, dropped in February this year and caused some havoc. The Joburg South duo’s recently released three-pack EP, THR3 KOT4 (pronounced “three kota”), has different flavours of hip-hop, in the same way a kota has a little bit of everything to satisfy your tastebuds.

The first track ‘Golide’ has traditional hip-hop elements – hard-hitting 808s and bars that will appeal to hip-hop purists. The song features Soweto rappers Ndabezimnandi, 1dile and Max Rose, who’s on the hook. The fittingly titled song is a candid story about the difficulties of hustling hard in the City of Gold, and how their money sometimes gets used on the wrong women, as 1dile raps, “Sithi s’sathi s’sahlanganisa nama cent/ kungen’ama slay ngama garavu.” It seems like each artist on the song is speaking about the same situation that they’ve all witnessed, but they have slightly different viewpoints about what happened.

On the kwaito-leaning ‘eRoundini’, the duo pays homage to late kwaito superstar Brown Dash, as they use some lines from his 2004 hit ‘Phants’ Komthunzi Welanga’. Just like Brown Dash’s hit, ‘eRoundini’ is a summer song, and has PhilaBoi K detailing his efforts as he tries to organise a chill session with his friends, rapping, “Ngaphandle bheka k’shisi ilanga, no skipa/ Futhi let’s braai meat, majita let’s all chill.”

On the final song, ‘We’ll Be Alrighty’, PhilaBoi K spits a motivational verse over trap-soul production. He details the kinds of bad situations he had to go through to make it this far with his friends who are also pursuing music. He raps, “Captain the ship Peter Pan get ’em hooked/ Throughout all these years we’ve been overlooked.”

The song has a beat switch with a soulful part by PhilaBoi K delivering a powerful hook about striving through difficult times and asking a higher power for help as he raps, “Praying for me, lighting me up like a globe/ I’m praying for peace, I don’t want pain anymore.” The song features a verse by rapper WANG and harmonies by Duma Ka Mthombeni.

This jam-packed EP sets an undeniable tone of musical versatility of all the artists and producers featured. They are building a multidimensional catalogue that is flexible to any type of hip-hop they choose to make.

Stream THR3 KOT4 by PhilaBoi K and THAT$hYHOMIE on Apple Music, Spotify and all other platforms.

The post Review: PhilaBoi K and THAT$hYHOMIE ‘THR3 KOT4’ EP appeared first on HYPE Magazine.

The latest Tekken series is currently streaming on Netflix. Tekken: Bloodline joins a number of films and TV shows that have been adapted from the popular Japanese combat video game created by Namco and has been a staple since the 90s.

The plot of the six-episode series is linked to events that take place in Tekken 2 and 3. Bloodline follows Jin Kazama’s journey to avenge his mother Jun Kazama who was murdered by the mysterious Ogre who’s thought impossible to defeat as he possesses the Devil Gene.

Jin receives training from his grandfather, the vicious Heihachi Mishima, who teaches him the Mishima style of combat: to, in his words, fight and win like a Mishima.

Bloodline lives up to the game franchise’s main strength: realistic animation and stunning art direction. The fight scenes are undoubtedly the show’s biggest selling point; the colours pop and the movements are so lifelike.

The storyline is simple and straight to the point, placing the attention on the combat which the Tekken fan is here for.

Look out for fights involving characters such as King, Nina, Paul, Hwoarang and of course Ogre, Heihachi, Jin and a few others.

Tekken: Bloodline is streaming on Netflix.

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By ubereatzz

After gaining traction by opening up for Cassper Nyovest at the 2018 Newcastle Winter Festival, Kwesta and Emtee at the 2019 Annual Spring Festival, and DJ Tira at the 2019 Spring Fest Pre Party, VenomRaps drops his debut album, Zolani, that lets people in on his purest form as a musician and a young black man living in South Africa.

The album opens with a solo piano piece called ‘Energy (Intro)’ that prepares the listener for what he has to say on the first song, ‘The Vendetta Pt. 2’. This song has VenomRaps proclaiming that he deserves more respect for his rap abilities than anything else, as he raps, “It’s very clear that I’m a menace I hope you people see/ You speak to me, you show respect or you just hold your peace.”

Cape Town rapper Energy makes an appearance as he handles the vocals and hook on ‘On & Off’, a song about the challenges Venom faces as he pursues a rap career in a house music-dominated country like South Africa. “Trust that I’ll be patient in my race/ Seen all these people hopping on the wave I swear it’s crazy,” he raps.

‘Ties’, my favourite song on the album, brings a more upbeat vibe laced with a catchy hook, repeating the word “Azishe” at the end of each line. Venom narrates how he and his team are hustling day by day to make money, a message he carries on to fan-favourite ‘Gang X3’ in which he raps in mostly isiZulu and isiXhosa, rapping, “See I’m with the gang and I’m lit/ What it is, I just pop up and knock out some hits.” It features rapper and producer KiidBlunt, who is part of the producer duo Thekidsnextdoor with Luther Brax, and a rapper called TheArsxnist.

VenomRaps shifts the listeners’ focus back on who he is as an individual, on the self-reflective ‘Zolani’s Interlude’. In it, he touches on his mixed emotions about being happy for those he loves around him in their respective successes and his inner turmoil about not doing enough for his own success. He raps, “Paranoia got me thinking I ain’t done a lot/ Peers moving on, I feel like I’m just here to watch.”

He recruits Chvrlie Earthling on ‘Gassed’, and the R&B singer handles the catchy hook that goes, “B*tch, I’m gassed, gassed, gassed, gassed…” This song serves as a continuation of his interlude as he raps about the pressure that comes with pursuing an unconventional passion, which he always has to remind himself will get better with time.

He further shows his variety on the R&B-induced ‘What You Want’ with singer Rasool. He opens himself up to the listener about being vulnerable in a relationship that is struggling to stay afloat; he raps, “I can’t promise we’ll be fine when it’s all sad/ Got our tempers really high, girl it’s all bad.”

Keeping with the cohesive theme of friendship, Venom sends a shoutout to his friends for always being the best key points for inspiration on his lyrics and music. He sends his deep appreciation for the love they continue to show him in everything he pursues; “Want you to know that when I make it, I won’t go without you/ And, to the friends, I hope you know I just do this for you.”

He closes this well-articulated debut album with ‘Break From Newcastle’ as he concludes how all his life experiences will be the building blocks for his ideal future and he touches on how he feels held back in his hometown as he raps, “I’ve been trapped in the city, man, I need a break.”

As a seasoned rapper and musician, VenomRaps managed to find the sweet spot that comes with making a debut album as he balances upbeat music, R&B, and hard raps to deliver an album that managed to chart at number 173 on Apple Music’s top 200 Hip Hop chart.

Stream Zolani on Apple Music, Spotify and all other platforms.

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By Sabelo Mkhabela

Lolli Native has had quite the journey. The Cape Town rapper has been hustling hard for years, building his name in the Cape Town hip-hop scene, before eventually relocating to Pretoria. He won the talent-search reality show Rap 4 Me in 2018 and became the first artist signed to Emtee’s label Emtee Records.

Lolli appeared on Emtee’s third studio album LOGAN in 2021 on the songs ‘Laqhasha’ and ‘Brand New Day’ where he rapped, “Where I’m from, a brand-new day is a blessing/ Intanga zam end’khule nazo never made it/ Itrongo nengcwaba be our only destination.” Raised in the Cape Town township Nyanga, which was South Africa’s murder capital until earlier this year, Lolli Native is grateful to be alive and hustling legally.

Whereas his verse on ‘Brand New Day’ was a snippet into his life, his debut album iVangeli tells his story in full. The song ’Nyanga’ is an ode to his hood, featuring Emtee, who handles the hook effortlessly. Lolli raps that, even though he’s in Gauteng hustling, he still reps Nyanga to the fullest.

iVangeli opens with a sigh, a signifier of an intense journey ahead. The sigh is followed by a phone call with his daughter and his mother, who assures him things will get better, as long as he prays. In the song, he takes the listener back to the household he grew up in and shows gratitude to his mother, who held the family together without the presence of a father figure.

He opens the song with the lines: “Bathi imali ngu Satane Kodwa ihleli ezipokweteni/ You would see a different view if ubuhlal’ etyotyombeni / A one-room house for a family of five/ It’s my life, and now I’m forced to survive.”

‘Iyeza’ is an inspirational song in which Lolli encourages the listener to keep that hope alive, as their turn to succeed will come. Told from his point of view, the song sees him rapping about his rise and ambitions – one of them being putting spaza on the map. “Bangandibulali eMzansi ispaza ndingakas’faki.” Spaza, a subgenre of hip-hop that was birthed in Cape Town townships, has struggled to crack the mainstream. It’s only through its current form – Xhosa trap (at times called ringz) – that it has truly made an impact nationally, through younger artists such as Dee Koala, Holy Alpha, Bravo Le Roux, SimulationRxps and several others.

Though sonically aligned with the new wave, Lolli’s music is true to the philosophy of spaza; deeply honest lyrics that reflect on life in the Mother City’s hoods. The song ‘Amagugu’ is a dedication to the hustlers of Nyanga who lost their lives in the hustle. For the hook, he repurposes the funeral hymn ‘Amagugu’. He raps about the vicious cycle black youths find themselves in, in Nyanga and, by extension, every South African township: “Kanti senzeni ngoba ekasi siyaphela? Another baby growing up without a daddy/ Another Saturday, another funeral service/ Iinyembezi zabazali, bafethum I can’t take this.”

‘Nyanga’ is preceded by the song ‘Ekhaya’, which also features Emtee. ‘Ekhaya’ is objectively one of the album’s strongest songs, and is a potential single, alongside its twin ‘Nyanga’. In ‘Ekhaya’, Lolli raps about being homesick, but assures us he’s right where he’s supposed to be. The lines are as poignant as “Bendigura netayma cuz he was never home/ Ngoku ndifana naye, I’ve been gone for too long”. Life comes at you real fast as an adult.

“As musicians,” Lolli said explaining the song during the album’s listening session held in Sunnyside, Pretoria, “we always have to look good, and people end up thinking we okay. This is me telling them back home that the way I look, that’s part of my job.

“That’s my mom on the interlude saying, ‘if things don’t go well, come back home.’ Now I’m not scared to hustle. And then after that song, people ask me where home is, and the answer is ‘Nyanga’.”

Seven songs in, and Lolli has been talking grown man sh*t, backed only by Emtee on the hooks for ‘Ekhaya’ and ‘Nyanga’, and Brian Themba on ‘Unobubele’. Noticing this running thread of sombreness, Pretoria rapper Boy Wonder, who was hosting the album’s listening session held on the eve of its release, asked Lolli if things would get any lighter. The answer was yes, but he explained the heavy content by saying, “This is my first album; I’ll never get a chance to cry like this again.”

He loosens up on the songs ‘Fitcha’ (featuring Blow Lephara and Driemanskap’s Elnino) and ‘Buddah of the Year’ (featuring Blue K and Paarl Xhosa trap frontman Soul T Idyan). On both songs, he and his guests talk that rap sh*t; rappers gotta cough up to get a verse, and he makes it known he’s a grootman of this rap sh*t. ‘Yiz’apha’ is carried by a chant hook; a playful invite for a hook-up with no intentions to stay. Explaining the bravado on that part of the album, Lolli told the audience at his listening session, “I had to trap hard. Signed to the number 1 African trapper, you have to trap hard.”

On ‘Luthando’, which comes after ‘Yiz’ Apha’, Lolli pours his heart out to a woman he’s in love with. The song marks Emtee’s third appearance on iVangeli – this time around, alongside singer Zaddy Swagg. “Bazak’xelela abandaziyo uthando ayizinto zam’/ Wena ufike ndingacinganga ndithol’ubambo lwam’,” he raps over a mellow R&B-leaning instrumental. This is another potential single.

The album’s press release pointed out that iVangeli was an “ode to women”, especially his mother and grandmother. Lolli acknowledges his struggles without disregarding the amount of support he has received from them and those he cares deeply about. During the listening session, he points out to his partner, his boss Emtee and his uncle (who had travelled from Nyanga to Pretoria to attend the event): “I feel like I’m rich because of the beautiful people in my life. God just brings true people into my life, and they’re all I have, so, I felt I needed to say thank you on this album. Because on the next album, we’ll be too far gone to say thank you.”

It’s a moment worth commemorating. As much as iVangeli is his debut album, it’s not the first album Lolli has ever recorded. An album he recorded with PTA producer J Smallz was shelved because of “politics”, he says. “And my brother Emtee said ‘let’s start over’. When he was at Ambitiouz Entertainment, we recorded a mixtape, and when he left, I lost my music. He said let’s start again.”

iVangeli is a solid debut that covers a lot of ground while still maintaining brevity (hopefully, rappers are taking note). Black Tears, Brian Temba, Master BC, young2unnbeats and Meloproduceit handle the production with  KnifeBeats as the engineer – and all do a stellar job. Lolli sounds hungry and determined to make his mark on SA hip-hop. It hasn’t been easy. On ‘Unobubele’, a gospel-leaning song featuring Brian Temba, he thanks the creator for keeping an eye on him even when he wasn’t so deserving. In the first verse, he raps about a time when he attempted to take his own life, but survived. “But God had other plans, ixesha lam’ alikakafiki,” he concludes the verse. “‘Ivangeli’ means gospel,” Lolli said, “the word is taken from ‘evangelist’. Evangelists get the gospel to the people, and that’s what I feel I am with my music.” No song drives that point home quite as literally as ‘Unobubele’.

Stream iVangeli on Apple Music, Spotify and all other platforms.

The post Review: Lolli Native ‘iVangeli’ appeared first on HYPE Magazine.

By ubereatzz

Following his successful 2021 EP Salem, [STAY LOW]’s alternative artist, Mars Baby drops his tranquil EP, Echoes. Lo-fi sound is accompanied by guitar strings that tap into his inner thoughts about love in the 21st century; he takes the listener through the various stages one goes through as they navigate a relationship that has so much love between the parties but not enough of it to help keep the connection as stable as possible.

The first song ‘Dead Leaves’ is about how the singer wants a chance to relive a relationship that doesn’t seem it will last, as he sings, “Dead leaves, that’s a temporary love/ You roll trees and it makes you feel numb.”

‘Lily’ plays on the colour of the titular flower, a drug and how he compares these characteristics to his lover, who makes him feel every emotion as intensely as an addiction to drugs does. He sings, “Baby I’m three months clean but I can find a vein for you.”

The EP has no features just like his previous offering which I believe allows the listener to tap into who Mars Baby is as an artist without the noise of unnecessary features as he is still building his sound and fanbase.

‘In the Dark’ is a turning point for the singer who feels this love connection is as bad for him as he thought. He also proclaims he is not in the best place emotionally, singing, “Devil, stay back, I want time/ Through temptation I will hide.”

 Mars Baby captures the listener into his various moods with serenity in his vocals as displayed in ‘Clean’ which is a paradox to ‘In the Dark’. Here, he invites his temptation in as he sings softly, “Murmur your hymn and make me clean/ Make me clean again.”

He closes this composed EP with his lead single ‘Be Safe’ where he offers his love interest a sweet proposition for them to end their rather toxic union on good terms: “Be safe, I can’t leave you this way/ I promise you my silence if you promise you’ll be okay,” he sings.

‘Be Safe’ was chosen by Apple Music as the track of the week and added on Spotify’s SAlt playlist. Echoes EP peaked at number 5 on Apple Music’s Alternative charts upon release which made it the number 1 South African Alternative project or album on the Apple Music charts. A placement that makes sense as this EP is worth the hype.

Stream Echoes by Mars Baby on Apple Music, Spotify and all other platforms.

The post Review: Mars Baby ‘Echoes’ EP appeared first on HYPE Magazine.

 By Sabelo Mkhabela

Adding four songs to his February release, the 4LUV EP, Blxckie carries on his R&B stint, which he recently described as “a phase” with the release of the project’s deluxe version. 4LUV (Deluxe) combines creative production with sharp storytelling and honest expression about love.

Even though his claims to fame were rappity rap songs like ‘Big Time Sh’lappa’ and ‘Ah Ah Ah Ah’, both collaborations with his Durban homeboy Lucasraps, Blxckie has established himself as a genre-agnostic artist, having worked with amapiano artists like DJ Maphorisa and Young Stunna. His debut album B4now showcased the different colours of Blxckie. With hip-hop at the centre, he experimented with amapiano, R&B and Afrobeats.

4LUV saw him explore his vocal side, crooning about love’s pleasures and complications over soulful production, underscored by twinkling Rhodes keys and mushy pads. They underpin his layered vocals of different registers, sent flying in all directions by reverb.

A different side

During the listening session for the original 4LUV back in February, Blxckie said his reason for putting the project together was to: “show a different side of myself. After seeing the success of ‘Hold’ and other love songs that I have out.”

The deluxe doesn’t only come with new songs, but also a different arrangement of tracks. 4LUV (Deluxe) opens with ‘cold’, an admission to toxicity; he sings about being with a woman who can’t resist him even though he’s hurt her a few times. “She gon’ pull up on me even though she knows/ I got a couple waiting in line that are just like her,” he sings. Blxckie described the song as the opposite of ‘Hold’, an endearing fan-favourite from B4Now. On ‘cry’, the song that follows, he sings about mending his ways and offers a shoulder to cry on to his woman, singing, “So, why would you go far from me, you know that’s not safe/ Just let out a cry for me, I’ll be on my way.”

On ‘fortune teller’, a smitten Blxckie and guest Nicole Elocin sing jovially about being aligned with a lover: “I said I love you more than you would ever know/ Are you a fortune teller, how you read my mind/ Come listen, mister, you’re blowing my mind.” ‘fortune teller’, which is produced by London Rhodes, is a nod to old school R&B with finger snaps and electro-acoustic strings and that thumping bassline you grew up to.

‘weep’ is one of the most intimate songs on 4LUV. The first part of the song in which he assures: “All the sh*t you’ve been through, oh, I cannot let you weep/ Want you to feel safe with me,” is catchy, while the second part mellows down after a beat switch. According to Blxckie, the change in tempo signifies the process of love-making itself.

Personal stories

‘your all’ is carried by hauntingly dark keys that are placed apart from each other, causing Blxckie’s stacked vocals to leap steadily from one chord to another. The song is yet another one where he sings about mending his ways: “I know you’re hurting and I could be the catalyst/ Could be the one that’s causing it/ I’m moving, I can’t stop it, girl, I’m sorry.” On the first verse, he touches on deserting her as he pursues his dream – singing: “Made a promise, that I won’t let you down, counting commas, make my whole family proud,” and later, adding she’s his muse: “See how far we go if you stick by what you told me/ You gas me up, really feel like I am chosen, sometimes I say these things and you feel like I’m joking/ You have my soul, girl, you have my soul.”

The song feels like one that could be based on Blxckie’s personal experiences. “Most of the songs that I’m doing now are mostly stories of people that I’ve heard,” Blxckie said during the listening session in February, “but there’s also [a thing] of me being in that situation. My come-up was super quick, and a lot of emotions I didn’t get to feel; a lot of relationships I didn’t get to grow.”

‘of course’ also feels close to Blxckie, as he sings about overlooking his lover while moving up. “I been in my bag, in my bag, yes, of course/ I’ma hit you back when I land, yes of course,” he sings on the chorus. His vocals glide through airy synth swathes and a wide bassline. The song is free of drums, and Blxckie shared on Twitter that it was recorded without any instrumental about two years ago. “We did those instruments with Zwaye a few weeks back,” he tweeted.

‘4me’ similarly has no drums. Blxckie shared that the song initially had a beat but he “stripped it down for vibes”. The absence of drums, just like on ‘of course’ places the attention on a saxophone solo and a selection of synths, making for one of the tastiest musical moments of the 4LUV (Deluxe) album.

R&B-’piano

‘Umoya’ meshes the aforementioned Rhodes keys and pads with amapiano’s wonted log drum. Amapiano is a genre that has proven flexible, having been incorporated into a variety of genres like Afrobeats, house, Afro-pop and hip-hop. According to Blxckie, ‘umoya’ was recorded two days after ‘kwenzekile’, his 2021 hit featuring Madumane and Chang Cello, and produced by Herc Cut The Lights. “Shout-out to Herc,” Blxckie said during the aforementioned listening session. “We’ve been trying to create a certain sound, which is slowing down amapiano beats, have super-crazy chord progressions and just sing over them, instead of just rapping. I have a knack and love for kwaito and slow-tempo-type of things, and to sing on them is a joy to me.

“Seeing the success of ‘kwenzekile’ and ‘sika’, I was like, it would be dope to have a song of that genre we tryna create and just make it more romantic.”

The deluxe comes with another song that takes the same direction: ‘ngivelelwe’ – a song about falling out of love. Blxckie is joined by Durban singer GARDENOTGOD, who comes armed with an airy falsetto that excels in both his verse and backing vocals on Blxckie’s parts. ‘ngivelelwe’ is both mellow and upbeat, and if there’s a song on 4LUV (Deluxe) that proves Blxckie is having fun with his art, it’s this one. He even manages to throw in a giggle between lines towards the end.

‘sneaky’, his collaboration with Pretoria rap superstar Reece, is yet another triumphant song – bouncy and catchy in its mellowness. Released a week before the deluxe, ‘sneaky’ divided fans, as some were expecting a rap song or banger between the two rappers. But ‘sneaky’, a sexually charged thumper, was created to fit the theme of the project. ‘sneaky’ is a true collaboration; the two both contribute to the chorus; Reece delivers a rap verse and handles the bridge. Not a case of just emailing a verse.

‘sneaky’ won’t cause mosh pits like Blxckie’s collaboration with Nasty C, ‘YeX4’, which it was compared to by some fans on Twitter, but it fits perfectly on 4LUV (Deluxe).

Stream 4LUV (Deluxe) on Apple Music and Spotify.

The post Review: Blxckie ‘4LUV (Deluxe)’ appeared first on HYPE Magazine.

By Sabelo Mkhabela

Five years since the release of her debut EP, 2017’s In Good Faith, Kay Faith finally dropped her debut album this month. Antithesis packs 10 tracks that showcase Kay Faith’s range and her scholarly approach to curation.

Cape Town’s new wave – Owethu, Kashcpt, Hanna, Holy Alpha – spazzes on ‘Top Ten’ over a crashing trap beat. Each artist represents a different demographic of Cape Town hip-hop, from the suburbs to the hood, and expat UCT students in the case of Hanna, who raps, “Now that my face is on the internet, that is her favourite seat,” in her verse – a standout among other solid verses.

Spreading more Cape Town flavour are Phresh Clique and Bandannie, who connect on the playful ‘Slay Queen’, which aims to reclaim the titular descriptor by an all-queer line-up. Bravo Le Roux slides effortlessly through a bumpy bassline on ‘Amamenemene’ alongside VenusRaps.

‘PROUDLY CAPETONIAN’, one of the oldest songs on Antithesis, isn’t only a leap forward for Kay Faith who passes YoungstaCPT a drill-leaning beat, but a song in which she brings together day-ones YoungstaCPT and E-Jay for a notable Y?Gen reunion of sorts; E-Jay was behind bars when the song was recorded, and the hook was repurposed from an old recording.

‘Township Deluxe’, a new age kwaito posse cut, featuring OGs like Blaklez, Kaygizm and KiD X, and young bucks like Maglera Doe Boy and AirDee, shows just how much of a student Kay Faith is, and how measured she is in her curation. She told Apple Music, “All the artists, in their own capacity, have birthed a style of rap that wouldn’t have existed if it wasn’t for kwaito music. Blaklez is the founding father of the Sepitori-type raps that you see in Pretoria. KiD X is from [skhanda rap]; Maglera Doe Boy and KayGizm [rep motswako].”

‘On Life’, which sits midway through Antithesis, is a necessary reality check in an otherwise light-hearted project. Both Reason’s and Sipho The Gift’s verses are poignant reflections on their personal journeys, which is a lane both artists have run with eloquence and outstanding penmanship. Reason opens the song with the lines, “I just had a fight with my stepdad over money/ The back and forth over what he gave and what he owe me/ Conversation had me thinking if he ever love me/ That’s the kind of stupid sh*t you think when you just hungry,” before stating he’s operating in his own orbit and taking care of what matters the most to him. Sipho The Gift recounts the pain of witnessing dreams die while he perseveres in his own journey. He raps, “Cemeteries are my inspiration/ When I’m feeling like I’ll never make it/ I think of all those who lacked in patience/ and gave up early while still chasing greatness.” All this as muffled guitar strings scream in the background, contributing to the intensity of the record. Not overlooking the beautiful job done by vocalists Faith K and Nyokks.

‘Shark Week’, featuring Maglera Doe Boy, is a raw street banger where the leader of straata growls over a trap beat with a pulverising bassline; home turf for MDB, who handles the song without the aid of any other rapper.

The majority of the artists on Antithesis hail from Cape Town but also have a presence nationally, which is a far cry from how things were when In Good Faith dropped in 2017. Today, Cape Town hip-hop is the most visible it has ever been, nationally. And it would have been a travesty not to pay homage to the scene’s pioneers and complete the picture. Kay Faith’s got you covered. Towards the end of Antitheses, Uno July, a long-serving icon of Cape Town hip-hop, pays homage to his roots as a member of the duo Ill Skillz over a vintage boom bap beat embellished by cuts by Grandmaster Ready D, a true pioneer of South African hip-hop as a member of one of the country’s oldest hip-hop crews, Prophets of the City, and an active artist, DJ and community builder.

Antithesis closes with the sunny R&B-pop jam ‘Cinderella’ whose drums are imported from reggae, just like the dubbed-up guitar licks that dance around Nathan Blurr’s R&B vocals as he sings about a Cinderella who’s been doing him dirty.

Stream Antithesis by Kay Faith on Apple Music, Spotify and other platforms.

The post Album of the Month: Kay Faith ‘Antithesis’ appeared first on HYPE Magazine.

By ubereatzz

2AM’s latest EP Close Enough joins 2021’s Jaded and 2020’s (E)Motions EPs on the list of the Joburg-born and -raised artist’s growing catalogue of quality R&B releases. They all have just the right touch of trapsoul that will leave you feeling all the emotions that come with relationships.

“Rather be felt than seen,” the phrase on 2AM’s Twitter bio, seems to be the motto for the artist in his music. We hear him muse on his past and present relationships that have him deeply conflicted on Close Enough.

He introduces the listener to his deepest regret about a situationship with the first song ‘Keep It Real’, as he sings: “We should’ve stayed in touch/ Now I can admit it.” He sings about the dangers of pride, difficulties of letting go of someone you deeply love and how not keeping things real often ruins a good thing.

His smooth approach with the ladies is on full display in ‘Pull Up’ as he insists his potential lover get ready for him to come over. “Had to shoot my shot, I’d never slip up/ From my intel, you’re a handful/ Honestly, I only planned a hook-up,” he sings. This is my current favourite on this tape.

CLOSE ENOUGH (EP) is so close to my heart. The amount of time and care taken with each step of the process with this project has been worth it. And it is so fulfilling to finally be able to release it.

Please enjoy and share

Link: https://t.co/jNxdXskKPT pic.twitter.com/sNbAbUHCBq

— 2AM (@2AM_FTL) May 6, 2022

On ‘Grateful’, the singer expresses gratitude to God for blessing him with a perfect partner and how he wants to mention it more often that he appreciates her.

2AM’s honesty with himself is evident on ‘Can’t Stay (Interlude)’ where he sings, “You’re the only one that I ain’t safe from/ You don’t understand how much it takes, girl,” to his toxic lover of whom he just can’t seem to let go. He also goes on to speak about how he is partly to blame when he raps, “I’m not innocent, I’m sorry for my part in it.”

‘Come Back’ seems to be a continuation of the scenario set by the previous track as he bluntly lays out in detail the woes he faces with his current lover, and why the relationship doesn’t work, singing, “Can’t commit, too many issues to dissect.” He admits they just can’t seem to let one another go: “We could both find someone else/ Problem is, we don’t move on, we both come back.”

He brings in another talented R&B artist, Sandrahhh, on ‘One Last Summer’. 2AM opens the song by letting the listener understand how he believes in open communication with any connection, and encourages his lover to be more direct about wanting to be with him. Sandrahhh role-plays as his lover. She takes his advice and tells her lover what she wants: “Truth be told, I think I’m down to come over and kick it.”

He switches up his melodies on ‘Time Heals’, where he lightly raps about his desire to hear from an ex-lover again, who used to be supportive of his career. “You been down since soundcloud,” he sings. “Still a real fan, tell her friends that I been hot.” He also sings about how he can’t seem to fully commit to his new lover.

Close Enough closes off with the banger ‘Escape’ that’s about the singer’s trials and tribulations as an artist and a young man in this current musical and dating environment. He speaks on how music has been the best therapeutic outlet as he sings: “Cause help me get away. The place I go when I need to run but can’t escape.”

Stream Close Enough by 2Am on Apple Music and Spotify.

The post Review: 2AM ‘Close Enough’ EP appeared first on HYPE Magazine.

By ubereatzz and The Observer

Sammie Heavens is no stranger to the spotlight and life within the hip-hop scene in South Africa; being popularly known as the girlfriend of hip-hop superstar, Nasty C. After hinting at the possibility of transitioning into a hip-hop artist herself by dropping a few freestyles on her Instagram and TikTok pages a few months ago, she drops her very first body of work, an EP titled July, on SoundCloud, Audiomack and YouTube.

The 4-track EP starts off with ‘Strapped In’, a song she previewed as a freestyle on her social media earlier this year. The song touches on Sammie’s possible current state of mind, her thoughts about her relationship, living under the spotlight and the dynamic she wishes to manifest between them. She raps “Wanna share my bread with you, baby/ We can be unstoppable, baby” over a high-pitched soul sample anchored by a strong kick and thick bassline.  

She comes in hard with ‘Praise God’ where she declares, over trap production, “I’m the one that you got playing on repeating” and spits potent lines like, “I see they tryna get under my skin/ They tryna see how they can glow from within.” She touches on how naysayers told her she couldn’t make music and she decided to just do it just ‘cause she can; “I’ll show you my magic/ But where to begin/ You said I can’t do it, I’ll do it again,” she raps.

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“Cold [open verse]” takes the listener further into relationship woes as she questions, “Are you ice, ice-cold, baby?/ Why am I freezing in your arms tonight?” on the catchy hook. She leaves space for anyone to hop on since half the song consists of the instrumental, hence the “open verse” title. A few remixes wouldn’t hurt.

The final track, “I Did It”, is the best song on the EP, followed closely by ‘Strapped In’. Sammie flexes real hard about her lifestyle with so much flare and confidence as she raps, “My watch is Swiss, it speaks, lil b*tch/ You might hear it talking/ Money look good on me, you think? You think? I like it, b*tch, stop it.” ‘I Did It’ solidifies that Sammie Heavens has mad potential in music.

It is important to note Nasty C’s influence on her production choices, flow and cadence especially on ‘Praise God’ and ‘I Did It’. One can hear Nasty on most of the beats (come on, ‘Cold [Open verse] would fit well on Strings and Bling). Sammie’s personal touch is her ability to use different vocal projections, especially on ‘I Did It’ where she uses high-pitched and low register voices interchangeably. At times, it works against her, but it’s all part of the stumbling blocks toward a rapper finding their own voice. 

Sammie Heavens may be new at dropping bodies of work for public consumption, but one can tell she’s been working on her craft for a while and she’s definitely surrounded by hip-hop royalty to help refine her skills. She’s one to watch out for.

Stream July by Sammie Heavens on SoundCloud, Audiomack and YouTube. 

The post Review: Sammie Heavens ‘July’ EP appeared first on HYPE Magazine.

By ubereatzz

After dropping his critically acclaimed project Members Only, an extraordinary collab tape If You Know, You Know with Mashbeatz and was featured recently on the producer’s street banger ‘Never Ride’ alongside Maglera Doe Boy, Thato Saul’s latest offering Life Is Gangsta cements his position in hip-hop as one of the best storytellers and lyricists in the country.

The tape lets the listener in on growing up in Thato Saul’s hood Atteridgeville, popularly known as Pheli, west of Pretoria, with ‘Modimo Ohla Pheli’ where he speaks on his growth as an artist and as a person while he states that people didn’t believe he would get this far.

He carries this energy into ‘Pick It Up’ where he raps about a deep conversation with a friend who tells him a life of crime is the only way he can put food on the table. “I pray that they give it up easy/ Don’t be Superman and be throwin’ a fit up/ Don’t really like pullin’ the trigger/ even though that sh*t don’t make me shiver/ Give up the keys and give up the monies/ I be prayin’ to God, ‘don’t make me pull the trigger/ Don’t really like being that n*gga,” Thato Saul raps from the perspective of his subject.

He recruits rap superstar A-Reece on ‘Put It on Me’. Saul addresses his peers, fans, and haters about how he is here to stay, and is cautious of who he keeps around him as he takes the game on. A-Reece comes in smooth letting his naysayers know he is aware of all that talk and how they are in their feelings, but they must respect his position in the rap game as he raps, “Just like the ex-con Jimmy, I thought I’d better call Saul/ Sky’s the limit and we takin’ off/ I don’t wanna see my mama cryin’ anymore, this who I do it for.”

‘Big Steppa’ reinforces Thato Saul’s stance on how people swear to be gangsta but they’re just claiming, but he sees that life every day in his hood, and knows how it goes. He continues to call himself a big deal as he is for the streets, by the streets with a reputation to match. This goes hand-in-hand with the Mashbeatz-produced ‘Kwa Bofello’ in which he mentions he’s the last of a dying breed with the stripes to prove it.

My favourite track ‘Kick It with You’, featuring Marcus Harvey, changes the mood from gully to romantic. It’s a beautiful love song that sees him rap over a melodic beat, confessing the things he is willing to do to be with her while addressing his foes. “You got the best rapper in the land, how you turnin’ me to a fan?/ If a n*gga ever try capture you like a cam/ they’ll arrest me, put in a can,” he raps. Marcus Harvey’s vocals bolster the gangsta love anthem.

The song comes with a comical skit which has a woman complaining to her friend about boys in her hood not going out anymore, but rather just sit at home and watch Big Brother.

‘Deep in The Mix’ with R&B artist and producer TRON PYRE is the best track on this tape sonically. The beat, the flow, the cadence, the writing and TRON’s vocals are all top notch. It’s my second favourite on the project.

The interlude ‘Tau Street’ brings the listener back to the harsh realities faced by Saul as he maneuvers his daily life in Pheli. The hard-hitting ‘R.I.P Fat Cat’ is a dedication to one of the well-known car spinners in his area who he seemed to admire a lot; he lets the listener in on how street politics get settled. “Nakwe Fat Cat asa park-ile pere,” he raps, “Dilo diya change-a ke spina ka pen/ Solo ako tshaba lo dwadla le pleke enemy di meme/ Street politics seti fetotsi sport/ Sae jump-a treni wa tshosa ke sporo.”

He brings this same context to ‘Back On My Bullsh*t’ as he lays down how he has been through so much to get this far, and he does not need anyone questioning his decisions.

Read: [Cover Story] Thato Saul: From Saulsville to the spotlight

It would not be a Thato Saul project without a Tyson Sybateli feature; the two have collaborated on a tape called At Your Service, a few songs like ‘Chauncy’, ‘Trust Nothing’ and ‘Home & Away Games’ to name a few. Lil Snake comes in on ‘What’s Goin On’ handling the hook and addressing different complications of the life they live as rappers. I would have loved to hear a verse from him but the song still works as it is.

Thato brings on fellow street rapper Maglera Doe Boy on ‘Okay’, where they continue off their ‘Never Ride’ wave in a song about their aspirations, dreams, and the direction they want their careers to go. Maglera Doe Boy lets everyone know he and Thato are the hottest rappers out right now and how they grew up in similar circumstances. The beat switch is the icing on the cake for this banger as Saul flaunts his lyrical capabilities.

Life Is Gangsta ends with the title track, a smooth rap record that outlines the past that shaped Thato. He reminisces about school days, counting dirty money with his momma and adds that the hood is bad for his mental health, as he has been burying many of his closest friends.

This must be an “ah-ha” moment for him on this project. The Riky Rick skit where he says, “So my depression took, uhm, you know, took form in being angry at the guys who were doing it.  And, uh, I always said my first album would be my last album ‘cause I didn’t expect to make it past 25. I didn’t expect to make it past 26,” sums up the rapper’s overall feelings about his chosen path.

Life Is Gangsta raised the bar on storytelling with a consistent message of staying true to one’s roots, producers like Mashbeatz, Feziekk, and Beatshoven outdid themselves by providing Saul with the best musical production in the country that ranges from trap to soulful boom bap.

It is a flawless project that could mark as a turning point for Thato Saul; the album hit number one on Apple Music All Genres charts upon release which is an impressive achievement, especially for an independent artist.

Stream Thato Saul’s Life Is Gangsta on Apple Music, Spotify and other platforms.

The post Album of the Month: Thato Saul ‘Life Is Gangsta’ appeared first on HYPE Magazine.

By The Observer

One thing is clear, Lucasraps is adamant on living up to his moniker; one thing the Durbanite will do is rap. And that’s what he does in his latest release, Location Hurting 2.0, a sequel to Location Hurting released a year ago on SoundCloud.

“Location Hurting 2.0 is a project showing my transition through a multitude of different emotional and mental states, with the hope that it guides everyone who listens to it through all their tough and/or difficult situations,” reads the description under Location Hurting 2.0 on SoundCloud.

And he does take the listener through a few moods from self-assured (‘Not There’ and ‘Drown Your Sorrows’) to self-introspective (‘Cabity’ and ‘Heart Attack’) and just straight flexing, especially when he has company. ‘Fine China’ is a sexually charged posse cut featuring Ca$h Kali, T.Y and Wang, where Lucasraps and his guests rap over a minimalist trap instrumental. ‘Fine China’ is followed by ‘Revealed’, yet another posse cut with a lean trap beat. The song features Ca$h Kali, Wang, EL ES DI and V.I who each deliver laidback raps.

‘Revealed’ is followed by even more bars on ‘Swagger Juice’, featuring The Big Hash who contributes an energetic verse, sharp and expressive as one has come to expect from the former member of the Innanetwav.. “There I go again with these entendres/ I’m born to get this money, that’s the mantra/ But money turnin’ niggas into monsters,” The Big Hash raps over a rumbling bassline reminiscent of old-school West Coast hip-hop.

“Location Hurting 2.0”
https://t.co/qY8sW2UNnd pic.twitter.com/qtDeiLZFqY

— Lucasraps – Y.O.G (@LucasRaps_SA) May 30, 2022

On the Hazy-assisted ‘Cabity’, Lucasraps rides an ominous bass-heavy instrumental, where he raps about being desensitised by life’s circumstances, especially those brought by the spotlight. It’s one quotable after another, as he spits lines such as, “I rest my case, I wash my hands in water that the father made/ Tryna slaughter me ’cause ‘G.O.A.T’ is part of my name.”

On ‘I Am Him’, he rants over the instrumental to Eminem’s 2000 hit ‘The Way I Am’, where, just like Slim Shady, Lucasraps expresses his dissatisfaction with how the game operates and treats him. “This game is so p*ssy, n*ggas reply to you in captions,” he raps, after saying, “Came for your favourite rapper, now everyone is hella mad,” likely referring to his swipe at A-Reece last month after Reece claimed to be the best rapper in Africa. It’s a fitting instrumental to recycle for a rapper who has no fear of expressing himself fully. Even as an established rapper with a debut album, 031 to the World, released by DefJam Africa, Lucasraps remains dedicated to the craft of rapping and hip-hop as a lifestyle and culture. He is still racking up SoundCloud streams with each drop and moving as he pleases.

Location Hurting 2.0 ends on a contemplative note – on ‘Heart Attack’, Lucasraps expresses that the road hasn’t been easy but he’s far from done. He raps, “I ain’t sinking but I’m in the deep end swimming out/ I won’t stop until these motherf*ckers hear me out,” over a drumless beat that mostly consists of electric guitar strums that keep their distance from the vocals, ensuring the raps are the main focus. The most heartfelt song on Location Hurting 2.0, ‘Heart Attack’ ends with a straightforward message: “Just give me my respect, pay it where it’s due/ All these other n*ggas know about Luci Lu/ Hardest of these n*ggas here, I am the truth.”

Stream Location Hurting 2.0 by Lucasraps on SoundCloud.

The post Review: Lucasraps ‘Location Hurting 2.0’ appeared first on HYPE Magazine.

By ubereatzz

Namakau Star is a Cape Town-based “new-age neo-soulist, gender bender, healer and light worker” as her bio on SoundCloud accurately describes her. Her attention to the finer details shines through in her latest offering, Landing, which takes you on a journey to outer space.

As the cover art conveys, Namakau Star is an energy-reading extra-terrestrial on a mothership that is waiting to land softly on new beginnings. She is willing to learn from both her past and present experiences.

Landing starts as a reflection on decisions made in romantic relationships on ‘Tomorrow (Intro)’ where she sings: “If tomorrow never comes would you say that you did it all?/ Would you say that you went all in?” and proceeds to ask, “Who did you love out loud?” as she reminisces on the possibility that the next day is not certain; and what would she or her lover do if every chance they had did not exist?

The vibey intro bleeds into the futuristic ‘2088’ that sticks to the theme of outer space travel with a potential lover. Namakau Star shows off her versatility as a vocalist as she lightly raps, encouraging her potential lover to “hop onto the mothership” with her for an out-of-this-world experience.

On ‘Floating’, she explores her newfound freedom (space), her independence as an energic being and her deep journey of spiritual discovery as she sings: “Open wings I need freedom to fit/ Energy is a language for me.”

Scoring a placement on Apple Music’s Brown Sugar, a playlist that “highlights grown-up R&B tunes with hints of the classic tradition”, ‘Floating’ is produced by singer/producer Lordkeyyz, an up-and-comer in South Africa’s thriving R&B scene.

The interlude ‘Surrender’ further ties into her thought process on letting go and letting the universe do what is best, even when it seems uncertain.

‘Rewind’, which is one of my favourite tracks on Landing, sees her travelling back in time to an ex-lover with whom she had a great relationship, to initiate the process of forgiveness.

Lordkeyyz comes in on the sensual ‘Seazn Luv’ to duet with Namakau Star. Lyrically, both artists show what it means to be presently in love with someone, and the desires and fears that come with bearing your soul to another person.

She closes off her soul-searching trip with another favourite of mine, ‘Breathe’, featuring Phola, Phola. She continues to show off her versatility with her light rapping/singing style over a smooth beat, while explaining how her journey through time and space has shaped her overall idea of what it means to live. To fully live is to be open to the endless possibilities that come with expressing love, self-acceptance and trusting the universe, letting it breathe.

Namakau Star’s EP is a beautiful R&B/soul offering that transports the listener into a mothership to travel and hear different versions of herself and those around her. She manages to capture the essence of what it is to be a hopeless romantic with a consistent message and excellent choice in production.

As her first-ever full-length release, Landing is a taste of what the singer still has to offer in the future.

Stream Landing by Namakau Star on Apple Music, Spotify and other platforms.

The post Review: Namakau Star ‘Landing’ EP appeared first on HYPE Magazine.

By The Observer

In his latest album titled HOME, Tyson Sybateli sincerely tells personal stories of growing up and existing in this world, which ties in nicely with the title: HOME. In a note Tyson shared on his website prior to the release of HOME, he explained that, on the album, he would tell stories describing what home is to him. “I define it for myself, my community and maybe I will help you define it, too,” he wrote.

In the first verse of the song ‘Growth’, the gifted wordsmith paints a complex picture that begins on the road with a flat tyre that became a life lesson. The verse takes you into his household and extends to his community when he touches on the complexities of South Africa’s history of segregation and how the current generation is dealing with it. He also touches on his journey as an artist, looking at the struggles musicians are dealing with.

On ‘Homecoming’, which features R&B star Una Rams, Tyson extends the idea of home beyond the self into the realm of love, rapping, “You won’t be lonely, you home with me.” ‘Homecoming’ is one of several love songs on HOME that contribute to the home theme: he connects with singers Amarafleur and Marcus Harvey on ‘House’ and ‘Riddle Me’ featuring Feziekk.

Tyson Syabateli, who was born in Umlazi, Durban, grew up in Pretoria, a city that played a huge role in the rapper he has become. He’s part of a new crop of PTA rappers who make sincere rap music, an aesthetic one has grown to expect from the city’s MCs since the days of OGs such as Blaklez and PDotO. Currently, the likes of A-Reece, Wordz, Jay Jody, Thato Saul and IMP THA DON are carrying the torch. A majority of them appear on HOME.

Read: Thato Saul: From Saulsville to the spotlight

‘Chauncy II’ is a heartfelt posse cut in which Tyson, Mass The Difference, Wordz and IMP THA DON rap about their vulnerabilities as artists. “… your sister looks up to you/ And your friends’ boyfriends tryna fuck with you/ You face the mirror knowing you don’t trust in you,” Tyson bleeds over a muffled vocal sample and warm drums and bassline.

It’s the same case on the album’s lead single ‘If Found, Bring Home’, a collaboration with Jay Jody which sees both MCs bare their souls about the game over a drum-less beat built on mellow piano keys. Jay Jody makes the declaration, “After The Anvills, we the best shit that ever happened to the city.” ‘If Found, Bring Home’ is one of the finest rap moments of HOME (and there’s plenty of those) alongside ‘Home & Away Games’, a 6-minute-long rap-off between Tyson and fellow PTA spitta Thato Saul.

Tyson tells his story with an unmatched conviction, and he picked great beats that allowed him to speak from the heart without any disruptions. As a result, HOME will keep the listener engaged from track 1 to 12; Tyson tells serious stories with sprinkles of humour and rapper bravado. HOME is accessible; Tyson’s raps are clear and the sung hooks contribute to the palatability. It’s an album that will impress the hip-hop fan without being overly technical.

It’s safe to say HOME is the best South African hip-hop album of 2022 so far. We are only five months into the year, so it’s too early to declare it AOTY yet, so for now, HOME is our album of the month.

Stream HOME by Tyson Sybateli on Apple Music, Spotify and other platforms.

The post Album of the month: ‘HOME’ by Tyson Sybateli appeared first on HYPE Magazine.

Money Badoo – PORN$TAR

As much as Money Badoo’s debut album comes with raunchy songs, such as ‘cum 2 me’ and the title track, PORN$TAR isn’t just about sex. The rapper and singer explores existential life issues such as heartbreak, hustling and believing in oneself. At 10 tracks long, PORN$TAR is punchy, comes with no wasted moments and is free of tautology, which you come across with some albums (no names mentioned). Listen with caution, though – this album has the ability to unleash your inner baddie.

ShabZi Madallion – Who’s Around When It’s Finally Done

ShabZi Madallion delves deep into his soul in his latest three-track release. He asks existential questions such as the title and: “How did I end up in the hospital? What’s a journey without obstacles? It’s like we meant to suffer/ Why do I even bother to live when I’m living under?” On Who’s Around When It’s Finally Done, ShabZi is looking for answers, a relatable quest to pretty much anyone alive today. A perfect listen for cold winter nights with fittingly warm beats.

BELO SALO – cold emPress

BELO SALO’s four-track EP cold emPress is a SoundCloud-only release that he shared with his fans as he works on the album. Haunting vocals drenched in reverb in an atmosphere of soulful beats, and filtered pads and heavy bass, make for a hypnotic listening experience.

031CHOPPA – Shake Azul

Genre-bender 031Choppa returns with yet another EP. His dilatory maskandi-esque melodies float over soulful production with touches of amapiano on the opening track ‘Jika’. The rest of Shake Azul consists of trap-based production, which 031Choppa handles himself in this light-hearted release.

BhutLegend – ISIXHOSA NEVER BEEN COOLER

BhutLegend’s Xhosa trap is entertaining; his voice is as big as his personality, which dominates his latest offering. On ISIXHOSA NEVER BEEN COOLER, BhutLegend raps about his progress in the game in both a boastful and introspective way, which provides the opportunity to also explore soulful boom bap production alongside kwaito and the dominant bass-heavy trap beats. He’s joined by a few vocalists and likeminded rappers such as Soul T Idyan, BRAVO LE ROUX and Flash Ikumkani.

Gigi Lamayne – Set in Stone

In her new album, Set in Stone, Gigi Lamayne enlists Vugar M Beats on production. While the project is still hip-hop leaning towards the trap side of life, the producer sprinkles a local flavour on the beats; most of the songs are given a South African sonic accent by the inclusion of amapiano’s log drum – a contraption that is being deployed by a large number of musicians from all different genres across the continent. As she always does in her albums, Gigi recruits an interesting list of guests, ranging from Majorsteez, MusiholiQ and Big Zulu to Makhadzi and Busiswa.

Flash – Ikumkani Umbono Wam

In his latest release, Flash Ikumkani’s trademark style of Xhosa rap melodies carries heartfelt messages of his journey in the game. He explores pain with the poster boy of emo raps, PDOT O, on ‘Intlungu’ and expresses he’s proud of himself on ‘Proud of Me’, a collaboration with Just Bheki and Lord Script, while he rolls solo on ‘Isigqibo’, ‘24’, ‘Iyabulela Ilali’ and ‘Umbono Wam’. On the latter, the EP’s lead single, he brings more motivational raps over a laidback trap instrumental – a sound that dominates the project.

Nanette – Bad Weather

Rising R&B songstress Nanette used her Bad Weather EP as a platform to voice her concerns about relationships. She demands better treatment, holds herself accountable and isn’t shy to express her rawest feelings. The EP’s title itself, apart from providing perfect imagery for the music, makes reference to a personal fear of hers. She recently told Apple Music: “I was an only child, and sometimes I’d be staying as this lonely child in the house alone [during a thunderstorm], scared as heck. That fear of being alone in a thunderstorm or a catastrophic event has never left. I always saw even the things that went wrong in my life as another thunderstorm. I wanted the album to feel like an account of me in my room with my blinds down, and it’s pouring, and the thunder’s crashing against the window. The album is a really tumultuous journey because nothing about bad weather is peaceful.”

[Album of the Month] Tyson Sybateli – HOME

Emerging Pretoria lyricist Tyson Sybateli released an album that caught everyone’s attention and has been on repeat since its release on 27 May.

To find out why HOME is our Album of the Month, read the article here.

The post BEATLAB: South African hip-hop albums & EPs of the month (May) appeared first on HYPE Magazine.