Murs plans to drop his A Strange Journey Into The Unimaginable LP on March 16, which just so happens to be his birthday. Ahead of its release, the host of HipHopDX’s The Breakdown has unveiled the cover art and tracklist for his upcoming album.

The 14-track LP is produced entirely by Michael “Seven” Summers. Tech N9ne, Fashawn, Prof, AV, John Givez and Propaganda make guest appearances.

“You don’t really know who you are until you hit rock bottom,” Murs said of the album. “I’m reaffirming that I’m not broken. After everything happened, I had nothing I wanted to say musically. I was in the midst of so much shit that I really couldn’t speak on where I was…Because I didn’t know where I was. November was seven-and-a-half months after my son died. I spent the summer with my oldest son. I was getting back to normal little by little. I thought I could stay at the bottom and wallow, but I had Strange Music reserve the release date two years ago. They pressed me to stick to the deadline. It worked. I’ve always made vulnerable music and been through some things. However, it was nothing like the last four years. So, I screamed back into the abyss.”

In addition to the album details, Murs also dropped a video for his “Same Way” single featuring Tech N9ne. The visual depicting a “Meet The Parents dinner from hell” fittingly arrives on Valentine’s Day (February 14).

Check out the cover art and tracklist for A Strange Journey Into The Unimaginable below.

1. The Unimaginable f. RobotsBalloons
2. Melancholy
3. Midtown f. John Givez
4. Same Way f. Tech N9ne
5. Powerful f. Propaganda
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7. Superhero Pool Party
8. Whiskey Patron f. XV
9. A Lean Story
10. Lo-Fi Nights
11. So Close So Far
12. Celebrate
13. Vows
14. God Is The Greatest

Article source: http://hiphopdx.com/news/id.45975/title.murs-shares-a-strange-journey-into-the-unimaginable-cover-art-tracklist

Last week, HipHopDX shared the first part of our extensive conversation with Evidence. After delving heavily into his new album Weather Or Not in Part 1, we’re back with the second and final portion of our illuminating interview with the Rhymesayers artist.

In Part 2, Evidence explains why another Dilated Peoples album probably won’t be released anytime soon and talks about his desire to handle all the production on his next solo LP. He also touches on his Weather Or Not collaborations, his working relationship with longtime friend Alchemist and how the music industry has evolved.

What is the biggest change you’ve experienced as an artist and in the music industry since The Platform dropped in 2000?

I think something as broad as just going from really wanting to be accepted to caring less about what the people who inspired me think about me, creatively. Moving out of that a little bit. Maybe moving out of the emulation and into the innovation a little bit more. That was a big lesson. ‘Cause when you start, you really just wanna be like whatever made you wanna do this in the first place. And then, as you move along, you start to form this set of rules about how I’m supposed to sound and what’s expected. And I think if you get out of that, it’ll probably lead to the healthiest place, creatively.

And in the industry?

I think a full circle happening — starting independently, then using that leverage to get a record deal, and then going back to independence again and seeing how the game right now is kinda embracing the independent artist. The stigma of having to be signed has kinda been erased. Stick to your vision and don’t go to them, let ’em come to you kinda attitude in the industry.

What goes into producing for yourself as opposed to working with other producers? On this album, you’ve got huge names like DJ Premier and Nottz. Can you tell me about that dynamic of being somebody who can produce when you’re working with other producers?

I always felt like I have to make my own album. Like, I can’t just be on it, because it’s me. And if I genuinely made it, and I made something that’s undeniable that can sit with everybody else, then I’m on own now. But until then, it’s really hard when you’ve got access to some of those names you were just saying. You just say, “No, I’m gonna do them, so I can have all of the publishing!” [laughs]. I don’t know, but I have been saying I wanna move more into doing my own production because I’m proud of how I can.

I’ve done it four times now, so I’m proud of how I can orchestrate six or eight different producers who are not hearing what anyone else is doing, and I can pick beats from them to make it all feel flush. And when you play the album, you don’t know the producer unless you go, “Which one is Alchemist? Which one is Premier? Which one is this?” I feel like I’ve really done a good job at being the executive producer or sound-scaper, or something bigger than … an arranger, maybe. Taking other people’s beats and knowing how to make an album out of ’em and not sound mismatched.

But my biggest challenge ahead is just doing it myself, to create a sound like Havoc did for Mobb Deep’s album, or the way El-P did with whatever he touches, or RZA did with Wu-Tang. Maybe I do have a sound in me that I’m not tapping into yet, and if I did the majority, it could possibly be my best or my worst shit. You know? So, I kinda want to move in that direction, even though it’s scarier. Hopefully, we’ll go more in that direction in the future.

You mentioned it possibly being scarier. Is that something difficult to manage with how close you are to Alchemist and how much y’all collaborate? When you’ve got someone that good, is it tough not to utilize him?

Yeah, for sure. It’s like, “How am I gonna pass this beat up right now when they’re offering?” But I do need to bear down and do one like that, though. I really do. Or I need to make the majority of it myself and then decide, “Oh okay, this could use an Alchemist” or “This would be tight if” … At least I could do it like I treat vocal guests.

I always try to make 10 songs myself and then get the rest of the guests to fill out 15 or 16 songs. So, at least I made my album already before I start sprinkling everybody on it. And maybe if I did that with production, that could be good.

But in all fairness, Alchemist gives me a lot of props and encouragement and inspiration. When I play him beats, he’ll sometimes be like, “Wow, man that killed what I just made.” You know what I mean? He gives me my due, so it’s inspiring.

So, would you say the Madchild album you did was you starting to have a vision for doing an entire LP?

Yeah, ’cause just those names I mentioned before. The double threats. Those are triple threats. Those are probably my biggest inspirations. Kanye West, RZA, Havoc … People like that where they could just rap, they can make beats, they can do whatever. That shit’s so dope to me. It’s probably why I like taking photos. It’s just, it’s dope to show that you’re not … I can be good at anything I wanna do, I don’t have to be a one trick pony. So yeah, it would be really dope to be as known for my production as much as something else, sometimes. Or not even, but just the respect of the ones that do know.

One thing I really enjoyed on Weather or Not was you got a chance to give Mach Hommy some shine. I feel like he’s a newer artist that hasn’t received his just due. Was that a natural collaborative relationship you developed or did you seek him out to get on this record?

For this album, I didn’t do any of the laughing with strangers thing. I mean, some people I know better than others, but I can honestly say that everyone on my album, the majority – if we didn’t keep it, there was one take they did on my microphone.

Maybe a couple of things got recut. Slug re-cut his lyrics in Minneapolis. You know what I mean? But they were all at my house at one point or another, building on the songs. Styles P came over, Jonwayne came over, everyone was there.

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So, I met Hommy at Alchemist’s studio in L.A. when they were doing the “Brand Name” record, like I think about a year and a half ago. He put out a 12-inch with Mach Hommy. And yeah, we just started chopping it up from there and talking a lot on the phone. By the time we had worked [on this record], I had already rapped with Tha God Fahim, and I had already produced for him. So yeah, we were already tight.

That’s great.

And not everyone knows what he’s doing but if you see him, take notes. He body bagged that shit.

Definitely. So, going back to the point you were making earlier about how your grand plan was just to get back to a Dilated album after doing your solo albums. Obviously, Rakaa and Babu are still part of this latest solo record. Is another Dilated album next or it’s not in the cards right now?

No. I took six years, or seven years off. I mean it doesn’t seem like that, but I did. Cats Dogs was 2011. Even if it came out in November, it was just the very end of the year, but it’s a six or seven-year-old album, so I need to build my brand back up right now. That’s most important. I did 10 years of building Evidence, you know what I mean? I mean four albums. I wanna keep that going. I still have a little momentum, I don’t wanna do one now and then just drop off for six years. It doesn’t make sense.

So, I would say another one of these [solo albums], another Step Brothers and then maybe Dilated. But not to rule out … If Dilated started happening naturally, like, it was just Rakaa showing up a lot to kick it and the flow is just showing up and then work just happens magically every day, then maybe. But the way our lives have gone separate, the way I see a Dilated record happening right now would be like, we all consciously have to hook up a few times a week and have a certain amount of hours to do so. And that sounds like work [laughs].

The fucked up part about it is the song I did with Rakaa on my album, I really love. And it was so painless. And all the cuts that Babu did on my shit was so easy. So, it’s really just a mindfuck on my head like, “How do I just tell ourselves that we’re not making one.” And maybe that’s how it’ll happen.

Where it’s just as organic as possible.

Yeah. Otherwise, it’s just not.

You brought up doing another Step Brothers record. Was the previously unreleased song y’all put out a little teaser that Step Brothers is not too far away?

Absolutely not [laughs]. That was one of the songs that didn’t make the album. It was a complete throwaway. So, it’s fire that people kinda like it. That was like, serious cutting room floor shit [laughs].

Nice [laughs]. So, you’re saying what’s next will be keeping up with the Evidence brand. Can you tell me a little bit about the promotional push for this Weather or Not album? I know you announced one tour, but I’m curious if you’ve any type of special plans going forward.

Knitting Factory, we sold it out. And we sold out the Roxy too. So, it’s been really inspiring. The album showed up right off the bat at number two on the rap charts and then number 13 in the whole country. Number 10 and then it went to 13 in the country on the major chart.

What I would say is, if there’s a genuine interest and it seems like people are fucking with it, I’m gonna go get it. Atmosphere is lined up already. Tour through Canada and some U.S. states that are neighboring. And then, I’m gonna be announcing another tour shortly, overseas. Australia and South America are definitely being looked at. And then, God willing, I’ll get back and try to do my first solo headlining U.S. tour.

That would be great. Well, I really appreciate you taking the time to speak with us. Anything else you wanna let fans know?

Yeah, people showing love … Whoever it’s been for this record, it means a lot. Probably more than it’s ever meant before just because, like you said earlier, to dip out for a long time and just come back, you kinda don’t know what to expect. If it came back that it wasn’t really coming back with this much attention … I would probably be expecting that also, to be honest. So yeah, this means a lot.

And people coming to the shows, it also means a lot. It’s giving me hope to keep going. So, it feels a little more human this time. It doesn’t feel like I’m being the artist guy, it feels like people are … I’m relating to them and being able to just have therapy through all of this shit. I don’t know. It just feels more human, so I appreciate all of that.

Evidence’s Weather Or Not is available now on Rhymesayers. Check out his tour dates here.

Article source: http://hiphopdx.com/news/id.45979/title.evidence-discusses-future-of-dilated-peoples-plans-to-self-produce-his-next-album

Blossoming Bay Area rapper Saweetie exploded onto the scene last October with her “Icy Grl” video, which has since collected over 10 million views. Now, the 24-year-old is celebrating her new record deal with Warner Bros. and plans to redefine what High Maintenance means with her forthcoming EP.

While Saweetie likes to have her hair and nails on point, she’s not using the term “high maintenance” in its traditional form.

“From an external perspective, yeah, I like material things, but when I say ‘high maintenance,’ I believe I’m high maintenance all around,” Saweetie explains to HipHopDX. “For example, my relationships with people, my family and my friends are high maintenance. I’m a very traditional person, so I nurture and care for the people around me. My body is high maintenance — I work out, I eat good. My soul is high maintenance — I pray a lot.

“I think that’s what I’m about to do in rap — change the idea of what it means to be a female rapper,” she adds.

Saweetie, who graduated from the University of Southern California in 2016 with a degree in communications, admits the “Icy Grl” video was “super girly.” However, she says she’s always been more of a tomboy. Her latest video for “Focus” shows her rocking Nike Cortezes and jeans rather than the more revealing outfits she sported in “Icy Grl.” While she doesn’t mind getting attention for her looks, she’s not trying to become a sex symbol.

“I’m just being myself, so if that’s something that kind of comes out of it organically and brands my image, so be it,” she says. “But that’s not what I’m striving for. I think it’s really important for any artist, not just a woman, to stay true to who you are and when the labels come, they come. It think being true to your brand is the most important .”

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Being a woman in the industry does present its challenges but with her management behind her, Saweetie is in a safe space. However, it wasn’t always that way.

“I love everyone I work with and I’m super comfortable,” she says. “In the beginning, before I met my manager, it was really hard navigating the industry. You just deal with men who claim they want to work with you but in reality, they just want to spend time with you.”

With everything in place, Saweetie is excited to share her High Maintenance EP, which is expected to arrive on March 16.

“When we were shopping around at different labels, immediately when I met them [Warner Bros.], I felt like I was at home and like they were family,” she says. “I’m super happy and excited the deal worked out.”

*Saweetie is performing for HipHopDX’s SXSW showcase on March 16 in Austin, Texas. 

Article source: http://hiphopdx.com/news/id.45976/title.saweetie-wants-to-change-what-it-means-to-be-a-female-rapper

Lip Sync Battle, hosted by Hip Hop icon LL Cool J, has seen its share of entertaining head-to-head match-ups, such as John Legend vs. Common and Terry Crews vs. Mike Tyson. Following a Migos-inspired preview of a new episode featuring Los Angeles Lakers guard Lonzo Ball, the show’s YouTube channel released a teaser of his father LaVar Ball’s take on a Nas classic … and the results are cringeworthy.

The new preview shows LaVar taking a machete to Nas and Diddy’s “Hate Me Now,” which could convincingly be his theme song. Kicking off the performance with kick reminiscent of Busta Rhymes in the Leaders Of The New School-era, LaVar goes on to hit only a few words while aimlessly moving his lips for the rest.

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“If I were Nas, I would be embarrassed by the performance,” Lonzo said afterward. “Nas told me only a selected few can do this,” LaVar shot back.

The song choice is fitting since Lonzo has trolled Nas in the past, dismissing the Illmatic creator’s relevance and sharing an image of his face replacing Nas on a mock It Was Written cover. He even wore a hoody featuring the image, igniting a fierce Twitter blowback.

Article source: http://hiphopdx.com/news/id.45977/title.lavar-ball-butchers-nas-classic-on-lip-sync-battle

It’s no secret that some producers have been subjected to less-than-fair business practices on the part of the major label system. A new platform, License Lounge, is now giving producers the opportunity to do business with artists while maintaining control over their compensation and brand. Likewise, it allows artists with moderate to healthy budgets to get their hands on instrumentals without getting finessed.

This means no more settling for an “araabMUZIK type beat.”

“It’s a platform for artists to get access to industry producers like us,” araabMUZIK explains to HipHopDX, “instead of searching online and [leasing] fake instrumentals … I feel like it’s time for the artist to have access to real tracks and the real producers. That’s what License Lounge is providing.”

Last year, araabMUZIK announced a partnership with the platform, offering exclusive content — both instrumentals and sound kits — and became an official brand ambassador.

Per License Lounge’s website, artists can lease instrumentals for as low as $50, as well as purchase exclusive right while the producers retain 80% of the revenue.

The platform’s current roster of producers includes Scram Jones. Lex Luger, Dame Grease and Da Beatminerz.

“Being in this partnership, I’m able to open up those doors and opportunities for all these artists to easily purchase legitimate tracks from people such as myself,” he notes. “It’s the year of the producer … The producers are making the real big records more so than the artists.”

It’s been a little over four months since araabMUZIK’s One Of One EP dropped, showing off an evolution of his sound. Having spent the better part of the last few years on the road, he now has a host of new content on deck.

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“[I] have more music on the way,” he says. “I’ve been recording and just stepping up a lot to release more projects this year. I’m working on my new album, which is an electronic LP … That’s in the works right now. I’ve also been collaborating with other producers. They’re all dropping mid-spring/summer. Before it was all about the shows and touring, but now I’m focusing on producing and just working on records.”

As he explains, he is cognizant of the fact that the music industry has made staying consistent all the more vital.

“It’s all about the content,” he points out. “Right now, I’m trying to put out as much music as I can … but I’m also [delivering] projects that are quality. A lot of people are putting things out just to do it. I like to put things out at the right time.”

araabMUZIK wants to be smart about it though.

“I like to have a period of breathing. A lot of producers just like to keep putting out, putting out and putting out,” he says. “It’s time for me to put things out with artists more so than just instrumentals … that’s the goal right now.”

He also offers some advice to up-and-coming producers looking to make their mark in the industry. “Just keep going, man, and have the right business,” he explains. “A lot of people are getting ripped off because they aren’t doing the right business. There’s a lot of money in it if you do it right — with the right people.”

Check out araabMUZIK’s exclusive catalog on License Lounge.

Article source: http://hiphopdx.com/news/id.45978/title.araabmuzik-license-lounge-want-to-make-life-better-for-producers-2