Apple Music will offer adjustable vocal volume to millions of songs

Apple Music will offer adjustable vocal volume to millions of songs
The feature, dubbed Apple Music Sing, will be available later this month.

By Jordan Darville

December 06, 2022

Photo by LIONEL BONAVENTURE/AFP via Getty Images)


In a boon to fans of karaoke and annoying their coworkers, Apple Music has unveiled Apple Music Sing, a new feature to the streaming platform allowing users to adjust the vocal volume of tens of millions of songs, launching in December.


Apple Music Sing will be accessible through the platform’s lyrics view on the iPhone, iPad, and Apple TV 4K. In addition to being able to reduce the volume of a song’s vocal, users will be offered an improved lyrical display, separated lyrics for background vocals, and a split-screen display for songs with duets.

“Apple Music’s lyrics experience is consistently one of the most popular features on our service,” writes Oliver Schusser, Apple’s vice president of Apple Music and Beats, in a press release. “We already know our users all over the world love to follow along to their favourite songs, so we wanted to evolve this offering even further to enable even more engagement around music through singing. It’s really a lot of fun, our customers are going to love it.”


Frank Ocean launches Homer Radio on Apple Music

Frank Ocean launches Homer Radio on Apple Music
Offering up a “one hour window into what plays around our office after hours.”

By David Renshaw

October 28, 2022

Apple Music

Frank Ocean is returning to Apple Music with a new radio show. Homer Radio is described as providing “one hour window into what plays around our office after hours.”


The first episode launched today, October 28, and featured an appearance by the Ivorian producer Crystallmess. Tracks played by Ocean ranged from Dolly Parton’s “9 to 5” to Kodak Black’s “Walk” via Autechre, Glorilla, and Underworld’s “Born Slippy.”

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The description of Homer Radio on Apple Music reads: “Twin line array speakers hold court, they’re only a little loud. Someone’s vacuuming the carpets in another room adding white noise to the song. A security guard coming back up from a cigarette break can hear it all from inside the elevator. Magnified eyes see through a headset loaded with grids of light and lenses and loupes. Skulls on swivels make no sudden movements helicoptering over paperwork, pens, blades, vices, metals and gems. Artificial light pours from small canisters like those dragons that spring from cylinders, like the never-ending ribbons pulled from a magicians ear. Media fires back and forth and back again across the net. Sorkin-like walk and talks travel down the hallways further and further from the sound. This is Homer Radio. An office soundtrack. Can’t you hear our ‘voice’? It’s not a dead line.”


Home Radio replaces Ocean’s Blonded Radio, which last broadcast two episodes back in July. The annual “Blonded Xmas” episode aired late last year. Ocean is due to headline Coachella next year.


The xx announce Apple Music radio show Interludes

The xx announce Apple Music radio show Interludes
The program premieres Thursday, March 10.

By Jordan Darville

March 08, 2022

The xx. Photo by Gavriel Maynard


The xx will host a new program on Apple Music called Interludes. The show will premiere on Thursday, March 1 at 2 PM GMT with the inaugural episode hosted by the band’s Oliver Sim – Romy and Jamie xx will host their own shows in the future.


“We’ll be taking turns to host each episode and get into the things that inspire us individually,” The xx said in a press statement, promising “an hour of music, guests and sneak peeks of what we’re all up to on our own and together.”

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The guest list for the first episode of Interludes is fairly stacked. Romy and Jamie xx will call into to share their favorite horror movies alongside Florence Welch, Elton John, Sampha, John Glacier, and film director Yann Gonzalez. Music will be chosen by Thom Yorke, Perfume Genius, Yves Tumor, Hercules and Love Affair, and more.


The xx released their third album I See You in 2017.

Kanye West’s ‘Donda’ Now Spotify’s 2nd Biggest Album Debut Behind Drake’s ‘Scorpion’

Kanye West’s Donda album is the second biggest album to debut on Spotify ever behind Drake’s Scorpion.

Following the surprise release of Donda on Sunday (Aug. 29), the album is already making history on the charts. According to Chart Data, the rapper’s tenth studio album clocked close to 100 million streams on Spotify in 24 hours, making it the second-biggest album debut in the history of the platform.

Ye replaces Post Malone for the No. 2 spot after the artist previously held on with 79 million streams in 24 hours for his album Beerbongs & Bentleys. Interestingly enough, Kanye West has only been bettered by his current rival Drake’s Scorpion from June 2018, which amassed 132 million streams in a day when it was released.

Kanye and Drake are reportedly beefing at the moment, and it was said that they would both release their albums on the same day (Sept. 3). However, Kanye West says Universal released his album prematurely and without his consent on Sunday (Aug. 29). Regardless of that hiccup, the album is already thriving as it has not only found instant success on Spotify but other streaming platforms as well.

Donda broke the record for going No. 1 in most countries on Apple Music. The album has nabbed the coveted top spot on the chart in 130 countries thus far, including the United States, Australia, United Kingdom, Canada, Germany, France, and Brazil.

Featuring appearances from the likes of Jay-Z, The Weeknd, Lil Baby, Pop Smoke, DaBaby, Kid Cudi, Travis Scott, and more, Donda boasts 27 tracks. The most popular of which already appears to be the Hov feature “Jail,” which is also assisted by Francis and the Lights. The title debuted at No. 1 on the US Spotify chart with 4.277 million streams and is currently No. 1 on the US singles chart on Apple Music. Kanye claims the label also blocked “Jail pt 2,” which should have been a collaboration with DaBaby.

Donda’s immense first-day success has fans looking forward to what is to come.

.@kanyewest’s 'DONDA' earned almost 100 million first day streams on the global Spotify chart, the second biggest album debut of all-time.

— chart data (@chartdata) August 30, 2021

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How to watch Kanye West’s third Donda livestream event

How to watch Kanye West’s third Donda livestream event
All the details on how to watch Kanye West unveil his 10th album Donda at Chicago’s Soldier Field.

By Shaad D'Souza

August 26, 2021

Third time’s the charm, right? After over a month of leadup and two preceding, increasingly ornate work-in-progress livestream events, Kanye West appears finally ready to release Donda, his much-anticipated tenth album. Tonight at 9PM CT (10PM ET, 7PM PT) West will unveil the album at Chicago’s Soldier Field, after two Donda livestream events in late-July and early-August that took place at Atlanta’s Mercedes-Benz Stadium. The earlier events, although implicitly billed as album-release events, never actually led to the official release of Donda; instead, they appeared to showcase albums that were still in some gestational stage. But all signs point to tonight being the one: earlier this week, West announced pre-orders for the Donda “stem player”, a sampler that comes pre-loaded with Donda that will ship in “Summer 2021”, aka by the end of the week. This third livestream also comes at the tail-end of a week that saw West try to legally change his name to Ye West. Two songs on the record have already been released in some form: the Dr. Dre-featuring “Glory” and “No Child Left Behind” were previously premiered in Beats commercials starring Sha’Carri Richardson. As with the prior livestream events, tonight’s Donda event will be livestreamed on Apple Music. Watch the whole thing go down tonight at Apple Music, and pre-save the record on Apple Music here.


Read along with The FADER’s liveblog of Kanye West’s second Donda release party

Read along with The FADER’s liveblog of Kanye West’s second Donda release party
The show starts at 9:30 pm EST.


August 05, 2021

Kanye West. Photo by 13thWitness/Getty Images for Samsung.


The stage is set in the Mercedes-Benz Stadium in Atlanta. The crowd is gathering. The overpriced chicken tenders are frying. It’s go-time for the second album release party for Kanye West‘s tenth studio album Donda. The first event took place on July 23, and although the album was promised to come out after it was premiered in full, it was pushed back to August 6 and Kanye took up residence in the stadium to finish the project. While we wait to see if it does indeed drop at midnight, the second listening event is scheduled to begin at 9:30 pm EST tonight with a livestream exclusively on Apple Music. We’re tuned in, and you can follow along below. Keep refreshing to keep up:


Watch Kanye West’s new Donda livestream

Watch Kanye West’s new Donda livestream
The live feed, streaming exclusively on Apple Music, captures Kanye in his room/studio at the Mercedes-Benz Stadium in Atlanta.

By Jordan Darville

August 05, 2021

Kanye West. Photo by Christopher Polk/Getty Images for DirecTV.


Kanye West has launched a new Apple Music livestream for a listening event celebrating his tenth studio album Donda. Apple Music subscribers can watch here.


The album was originally scheduled to be released on July 23 following a livestreamed listening event at Atlanta’s Mercedes-Benz Stadium, but was pushed back to August 6. Since the first Donda stream, Kanye has been holed up in a room at the stadium — the current livestream appears to be set up in that location. A tweet from Apple Music suggests that the stream will also include tonight’s scheduled listening event for the album.

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Since the new stream started last night, Kanye’s studio has already seen a few guests. As NME points out, his longtime producer Mike Dean, Chance The Rapper, Fivio Foreign, Steve Lacy, and Vic Mensa have all stopped by. Viewers have also caught a masked Kanye working on music, exercising, sleeping, and wearing a very funny spiked Balenciaga suit.


On West’s website, you’ll find a list of coordinates identifying worldwide locations to watch the livestream.

How to watch Kanye West’s Donda livestream event

How to watch Kanye West’s Donda livestream event
All the details on how to watch Kanye West’s album listening party, beginning at 8pm ET.

By Shaad D'Souza

July 22, 2021

Kevin Winter/Getty Images for ABA

After a year of delays, Kanye West is finally set to release his long-awaited tenth album Donda tonight, at midnight eastern time Friday July 23. First set for release in July 2020, the album was announced for a July 2021 release earlier this month, with media personalities expressing the fact that they’d heard the album in full. Pusha T all-but-confirmed the record would drop at midnight on the 23rd when he announced that a Donda listening event would take place at 8pm ET July 23 at Atlanta’s Mercedes-Benz Stadium. Finally, earlier this week, fans were treated with a taste of good music, in the form of a Beats ad featuring Sha’Carri Richardson set to a new song titled “No Child Left Behind”, which also detailed a livestream event occuring on Apple Music at the same time as the Atlanta listening event.


Fans looking to watch the livestream can watch the whole thing go down from 8pm ET (5pm PT) on Apple Music’s dedicated Donda listening event page.

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Sada Baby connects with Hit-Boy and Big Sean on “Little While”

Sada Baby connects with Hit-Boy and Big Sean on “Little While”
The track serves as the lead single for Sada Baby’s upcoming debut album.

By Sajae Elder

May 17, 2021

Rapper Sada Baby shared his latest single “Little While” alongside Big Sean and Hit-Boy on Monday, the first single from Sada Baby’s upcoming debut album Him Not Them. The track sees both Sada and Sean reflect on the past, and their paths to success, over Hit-Boy’s bass-heavy production.


Debuting on Apple Music early Monday, Sada Baby spoke with host Zane Lowe about how the collaboration came together. “‘Little While’ was the full song with just me on it, and then I let Sean hear it because sometimes when I go out to LA, Hit-Boy lets me come to his studio and just record,” he explained. “He never stopped asking me about the song to the point to where he was like: ‘I’m going to put a verse on it.’ When [Sean] sent the verse back, it was a classic Sean verse.”

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Listen to the track above.


Thumbnail via Vuhlandes

Don Toliver, Gunna, and Lil Uzi Vert team up for Internet Money’s “His & Hers”

Don Toliver, Gunna, and Lil Uzi Vert team up for Internet Money’s “His & Hers”
Toliver and Gunna return to collaborate with Internet Money after the wildly successful “Lemonade.”

By Jordan Darville

May 13, 2021

Last year, rap collective Internet Money enlisted Don Toliver, Gunna, and NAV for “Lemonade,” a song that would ride massive TikTok virality to become one of 2020’s biggest rap hits. Today sees the release of a sequel of sorts: Internet Money’s new song “His & Hers” brings back Toliver and Gunna and recruits Lil Uzi Vert.


Speaking with Zane Lowe on Apple Music, Internet Money’s Taz Taylor said he was looking to hit the same “Lemonade” vibe. “So I actually started this record right after we dropped ‘Lemonade’ because I seen the numbers… “Lemonade” was the first one where I was like, man, this is doing like two million streams a day. This is crazy. So at that point I was like all right, well they want me to go make the biggest records.”

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Listen to “His & Hers” below on Spotify.


Stylo G’s “Dumpling Remix” Hit 50m Views Proving Spice & Sean Paul Pulling Power

The “Dumpling” remix has surpassed 50 million views on YouTube, and UK-based dancehall star Stylo G is ecstatic with the success of the track. He updated fans about the progress of the track and its success on Instagram.

Alongside a clip of the video for the remix, he posted: “50 million dumplings share out, world hit, just over a year we drop this”. There’s no doubt that the track was given a huge boost as two dancehall mega-stars, Spice and Sean Paul, jumped on it. Fans have definitely taken to the remix and can’t seem to get enough of it.

It was released in 2019 and is Stylo G’s most-viewed song on YouTube to date. The artist, who hails from Spanish Town, already found success with the original “Dumpling” track, but it got just close to nine million views since its release and pales in comparison to the number of views that the remix has gotten.

Spice was one of the first to congratulate the artists, saying: “A pure problem when this drop a mi show dem,” a fan added, “It’s been a long lockdown, ya’ll been on repeat,” and this one stated, “This could never get old!” Most of the fans simply commented with fire emojis when the post was made on May 11. So far, it has gotten over 25,000 likes.

View this post on Instagram

A post shared by Stylo G??W??A??R??N??G (@officialstylog)

It seems Spice and Sean Paul have the Midas touch recently as the two also helped out each other on one of Spice’s recent tracks called “Go Down Deh”, which was released on YouTube on May 1 and has already brought in close to five million views. Veteran Shaggy is also featured on that track. The track is on course to dominate as it debuted at #1 on US and Israeli iTunes Reggae, #2 in the UK, Italy, and Canada, and Top 10 on Apple Music, iTunes, and Deezer. Streaming of the track was recorded globally in countries like Japan, Germany, and the Netherlands.

Stylo G is now known for his hit collaborations, including “Touch Down,” which he recorded with Nicki Minaj and Vybz Kartel and has reached about 19 million views since its release.

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Apple Music Paying 1 Penny Per Stream – How Much Can Dancehall Artists Make?

Apple Music is now paying artists and labels at least twice that of other DSPs like Spotify.

Apple Music recently announced that artists will be paid equally and fairly as labels, and its rate is by far the highest in the industry so far. It’s a shift in how artists are treated in an era where the rights of creatives are taking the forefront, and those who previously capitalized on the earnings of artists- are being blocked from claiming income that rightfully belongs to the artist.

While there are changes, however, the Dancehall fraternity hangs in the shadows as the power players seek to hold onto the old ways of the business, and that means artists and their interests come last.

This latest announcement by Apple Music might also set a precedent for how artists relate to streaming companies, particularly now that the pandemic has shifted the incomes of artists from being diverse from tours and performances to now largely streaming and endorsements.

The switch to digital consumption is driven by technology as more users consume music readily on their phones, computers, tablets, and by various other technological means as physical copies of albums become less popular. This also means that the costs that artists charged per album, which can go for whatever they decide to share- anywhere from a few dollars to tens of dollars or more has greatly decreased with platforms like Amazon and Apple Music paying one dollar ($1) for a song.

The shift to online streaming means physical sales are down, but streaming is usually the foundation for other revenue streams to make more money. These include merchandising, touring and licensing, and other avenues from which the artists can make a lucrative income.

Streaming, however, may or may not work for every artist. As seen from the streaming numbers of the likes of Drake and Taylor Swift and even Nicki Minaj and Beyonce, diehard fans will purchase the whole album while others might get to enjoy the albums for free in a sort of way as their streaming membership guarantees them access to most if not all music on a streaming platform.

So what does this mean for other streaming services like Spotify, Amazon Music, Tidal, and Audio Mack? It’s unclear whether Apple Music’s latest disclosure will force the hand of these services, but all eyes are on them, especially Spotify, which is by far the most popular in terms of user numbers.

Apple Music is estimated to have around 72 million monthly paid subscribers, and the monthly rate is approximately $9.99 with some variations in some countries. It offers subscribers access to over 60 million songs, while Spotify has approximately 155 million premium monthly users for a subscription fee of $9.99 per month. The platform has over 50 million songs in its catalog.

However, the difference between the two streaming services is stark as artists make less money per stream with Spotify than they do with Apple Music. The income of one play from Apple Music is now a penny per stream. The same song will need to be played three times on Spotify as the platform pays somewhere between $003 and $.005 per stream or a third of a penny/cent.

Spotify has been criticized for its business model as more artists clamor for transparency when it comes to deals the platform has with labels as the royalty payments do not meet the expectations of artists.

The difference in the business models of Apple Music versus Spotify could be seen in the way the companies operate. Spotify is more of a marriage between art and venture capital, so the investor’s interest will come first- to the detriment of artists. While Apple Music seems to be taking a stance that promotes the work of creatives as it says it believes in “the value of music and paying creators fairly for their work. As the discussion about streaming royalties continues, we believe it is important to share our values,” Apple said in its announcement to artists.

“We believe in paying every creator the same rate that a play has value, and that creators should never have to pay for featuring.”

The featuring reference by Apple Music is a direct hit at Spotify. The company, following complaints by artists, said their music could be promoted by the streaming service, but the artists will, in exchange, earn lower royalty payments.

However, according to Apple, it pays the same 52% of subscription revenue, or 52 cents of every dollar, to record labels, and it does not pay a lower rate in exchange for featuring artists.

The pain of streaming means that artists have to cumulatively earn streams to get sufficient income from Spotify. At present, Drake is the top earner for Spotify- making around $52.5 million in earnings generated from 21.5 billion streams.

How much money will Dancehall artists make on streaming services as they move into Jamaica?

So how do artists in the dancehall arena fare in competing on such a large platform? And which platform will they make the most money on?

Dancehall, though influential, is still minuscule to fans who are paid subscribers on Digital Streaming Platforms. The Caribbean itself has around 54 million internet users, of which around an estimated 22 million are on social media. However, it’s unclear how many of the users have digital streaming subscriptions as YouTube remains the popular option for free streaming of their favorite music content.

Nevertheless, if nothing else, YouTube is undoubtedly a marker for the potential that Dancehall artists have when it comes to streaming music. For 2020 alone, there were collective billions of views of the music people in the region and diaspora love.

Artists like Koffee with “Lockdown” having 48 million views since being released nine months ago to Teejay’s “Rag to Riches,” and Shenseea and Tarrus Riley’s “Lighter” with 47 million views all round off the top three most-streamed songs over the past year on that platform.

However, elsewhere, artists are racking up the numbers but are they making matching incomes? For 2020, Vybz Kartel, Sean Paul, and Popcaan showed that numbers don’t lie when it comes to proving demand and fan favorites on Spotify.

Sean Paul is by far the most popular Jamaican entertainer, and his numbers on Spotify proves it. For 2020, the Dutty Rock artist saw his music streams racking up 625.9 million streams from fans in 92 countries.

Popcaan recorded 148.7 million streams within 92 countries that Spotify is available in as well. This is particularly interesting for Popcaan as he has collaborated with a few big international artists, including Drake and PartyNextDoor. Vybz Kartel, on the other hand, was right behind Popcaan with 130.3 million streams.

Now with the revelation that Spotify is among the lowest-paying streaming services, it puts things into perspective. For an artist to earn significant income on Spotify, they need to play three times to match one time on Apple Music. And further, artists like Vybz Kartel, who is managed by his own Portmore Empire Label, means he is getting much more of his income than other artists.

Dancehall artists in the Caribbean are increasingly being encouraged to join streaming services as the idea of streaming income has glittered like gold to new and upcoming artists who believe that releasing a vast amount of work will return a large amount of income.

However, there could be disappointment in the road ahead as streaming while glittery isn’t gold. It will still take hard work and traditional ways to build a following and maintain a presence that fans will always want to stream your music.

Additionally, the music business in Jamaica is actually run differently, as noted by producer Ainsley ‘NotNice’ Morris, who has worked with the likes of Vybz Kartel and Popcaan. According to NotNice, what obtains in the U.S, for example, is different than what is in Jamaica as streaming income usually comes to the producer, not the artiste.

Conversely, that position, while beneficial to the producer, is one that is detrimental to the artiste. In reality, the artiste is receiving no remuneration for his talents while the producer and the label take the lion’s share of any income. Only in cases where the artiste has followed through with a properly negotiated contract will he see any proceeds of his hard work and creativity.

According to Contractor Music CEO Sean ‘Contractor’ Edwards, artists are failing to properly secure their economic interests via contracts to ensure they earn income from their songs.

“The contract that is signed between the label and the artists as to how much mechanical rights which is the sales and the streams how much they are willing to give to them [artistes], each artiste and a producer is supposed to sign a contract, it doesn’t happen much in Jamaica, but they are supposed to sign a contract that says of the sales and streams you are going to get 20% or 30% but that doesn’t happen.”

Edwards says labels tend to put out the music, and they recoup the sales and streams but will give the artiste some of the publishing. However, he says this is a dishonest way of operating.

“What happens a lot is because there is no contract; the labels don’t give the artiste dem anything. It’s wrong…they don’t do this anywhere else in the world.”

Edwards has worked with several big-name artists such as DaBaby, Ed Sheeran, Julian Marley, Shatta Wale, Morgan Heritage, and others. He also has four Billboard and Grammy awards under his belt for collaborative work.

As for his streaming accomplishments, Edwards says his best performing song is the recently released “Soy Una Estrella”, which has 2.2 million streams on Spotify. The song features Ed and Jethro Sheeran, who are cousins and Latin American artist Jah Fabio and Jamaican breakout artiste Cashan.

According to Edwards, for artists to make money from streaming, they would need to start with ensuring that their contracts are streamlined properly to ensure they have fair terms to earn income. However, according to him, this has been a great challenge as many artists are illiterate and unable to read and write. That issue can be remedied, however, by getting assistance from trained managers or getting a lawyer involved.

Making Music that will transcend time that fans will come back to

Once they have negotiated a fair share of the streaming income, artists will also need to promote their music, like building up their monthly listeners. Koffee is one such person on Spotify who has 2 million monthly listeners, which includes the likes of former President Barack Obama!

On the other hand, an artist can create a lot of music, but if fans don’t like it, they may not listen to it again. One of the tested and proven formulas for artists like Sean Paul, Popcaan, and Drake, and even the likes of Justin Bieber and Post Malone, are collaborating with other artists.

The latter is a perfect example of becoming the youngest to have three songs all Diamond certified by the Recording Industry of America (RIAA). However, of note, the songs accomplishing that feat are all collaborations with Swae Lee for “Sunflower,” “Congratulations” featuring Quavo, and “Rockstar” featuring 21 Savage.

As for making money on Apple Music, the streaming service launched in Jamaica in the middle of 2020 as the pandemic raged on, so it might be too soon to gauge how dancehall artists aside from the big names perform on Apple DSP.

Still, the opportunity for more Caribbean subscribers to join the platform means that everyone can get a piece of the streaming pie if they can cultivate a loyal following.

Some of the artists who always seem to come out on top are Vybz Kartel, Alkaline (who doesn’t collaborate much), Beenie Man and Bounty Killer, and newer faces like Masicka, Skillibeng, Spice, Jada Kingdom, and Shenseea.

Apple Music does not release how many streams artists get annually or otherwise, but if anything is to go by, the numbers would be similar to Spotify for those who are always among the most streamed artists. However, it would be interesting to see how younger artists carve out an income for themselves, but the problem is multifaceted, and no one solution alone can cure it.

As for how much Dancehall artists can make, the recent announcements by DJ Khaled, H.E.R, Rihanna, and others about their dancehall influenced albums to suggest that the opportunity to sell themselves exist but negotiating the proper terms is the first step to making money then collaborating to broaden their fans base.

As for how artists will do, that remains up to them, but the power bargaining is presently tipped unfairly towards producers and labels who know the game better than young artists who are less occupied with squabbling over streaming income and more interested in actually getting “a buss”, something the labels and producers know only too well and exploit accordingly.

If one is to be wise, though, looking to the perfect example when it comes to making memorable music is a start for always making streaming income, not just launching songs. The likes of Tommy Lee Sparta with “Blessings,” Popcaan’s “Relevant,” and Jada Kingdom’s “Win,” to name a few, are all motivational anthems that will no doubt outlive the artists that created them as fans come back again and again to the songs.

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ILoveMakonnen shares surprise album My Parade

ILoveMakonnen shares surprise album My Parade
His debut album dropped on Tuesday morning.

By Jordan Darville

April 13, 2021

ILoveMakonnen. Photo by Michael J.


ILoveMakonnen is a great example of an artist who did their best work outside of a major label. He was one of the hottest acts in underground rap back in 2014 thanks to the strength of songs like “I Don’t Selly Molly No More,” “Whip It,” and “Tuesday,” which was remixed by Drake. Makonnen went on to sign with Drake’s label OVO Sound, and though he fell out with them two years later, Makonnnen stayed on Warner Bros and found further chart success with appearances on DJ Carnage’s “I Like Tuh” and his Lil Peep/Fall Out Boy collaboration “I’ve Been Waiting.” These songs didn’t have the magic of his earliest days, but Makonnen’s looking to tap into that once more: on Tuesday morning, Makonnen shared a surprise full-length project My Parade and announced that he’s once again an independent artist.


“The My Parade project is my first album being back in control over my art and creativity,” Makonnen said in a press statement. “It’s about celebration of self and having your own parade even if the world is raining down on it. My Parade album is a collection of genre-bending styles that I like to experiment in and showcase my versatility as an artist putting no limits on my musical expression. It’s for my fans who appreciate and enjoy all of the different eras of ILoveMakonnen’s music so far and for new ones joining in now on my artistic journey. This is releasing music in its purest form. The artist creates and then releases it to the world. No major label, no distributor.”

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Listen to My Parade below on Apple Music and Spotify.



YG’s My Krazy Life is streaming again with an edited version of “Meet The Flockers”

YG’s My Krazy Life is streaming again with an edited version of “Meet The Flockers”
The song has been the target of renewed criticism over lyrics about targetting “Chinese neighborhoods” for robbery.

By Jordan Darville

April 06, 2021

YG. Photo by Emma McIntyre/Getty Images for The Recording Academy.


My Krazy Life, the 2014 debut album from YG, has returned to music streaming platforms after a brief disappearance on Monday, as Pitchfork reports. The project’s song “Meet The Flockers” has been newly edited to remove a lyric about burglarizing “Chinese neighborhoods” — lyrics that came under scrutiny once more this month following a wave of anti-Asian hate crimes in the United States. “Meet The Flockers” was the target of a petition in 2016 from Chinese-Americans accusing the song of racism.


The editing of the song comes a week after YouTube announced it would not remove the song following complaints from the platform’s employees. YouTube’s executives said in an email that the song’s “artistic context” offset its violation of YouTube’s hate speech policy. “Removing this video would have far-reaching implications for other musical content containing similarly violent or offensive lyrics, in genres ranging from rap to rock,” the email read.

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The FADER has reached out to YG’s representative for more information.


Is Spotify really listening to artists “Loud & Clear?”

Is Spotify really listening to artists “Loud & Clear?”

Damon Krukowski, a musician and organizer with the United Musicians and Associated Workers, gave us his response to Spotify’s new initiative.

By Jordan Darville

March 26, 2021

Photo by Spencer Platt/Getty Images


Last week, Spotify launched “Loud & Clear,” a website marketed by the streaming platform as an attempt to pull back the curtain on how it compensates artists. In its mission statement, “Loud & Clear” says it “aims to increase transparency by sharing new data on the global streaming economy and breaking down the royalty system, the players, and the process.”


The site’s launch comes as the controversy over streaming royalties continues to build. Artists like Gary Numan and Zoe Keating continue to speak out over low royalty payments from Spotify, and COVID-19’s ravaging of the music industry has only heightened this sense of urgency. “Loud & Clear” debuted months after the formation of the Union of Musicians and Allied Workers, a group created to advocate for human rights and dignity for workers in the music industry. “We believe that the only way to transform music,” UMAW wrote in its introductory post, “is to collectively take resources and power from the few wealthy companies that dictate our industry, and work toward a more equitable music infrastructure.” Since then, UMAW has taken their fight to Spotify’s doorstep with the Justice At Spotify campaign, a day of protest actions at Spotify’s global offices.

UMAW’s vision of a more equitable music industry is laid out in its list of demands. They include a penny per stream for rights holders, the adoption of a user-centric payment model, and increased transparency behind “closed door contracts.” “Loud & Clear” does not directly address UMAW, and the Union issued a statement to Pitchfork decrying how Spotify’s site “has failed to meet any of our demands.”


To learn more about UMAW and its position on Spotify, The FADER spoke with Damon Krukowski, former drummer of Galaxie 500 and an organizer with UMAW. Throughout our conversation, which includes responses to specific points on “Loud & Clear,” Krukowski gave a no-holds-barred reaction to Spotify’s website, and urged musicians to demand much more from the company.

The FADER: What were your overall thoughts on Loud & Clear when it was announced?


Damon Krukowski: So obviously, Spotify has heard [the UMAW’s demands]. Now the problem is that there’s nothing on the website that any of us can find that we haven’t heard before. It is essentially restating all their justifications to their investors for why they’re such a great company for the music industry, without responding to anything that artists are saying. It is a lot of reshuffling of the same figures that we’ve seen before that don’t add up to enough for artists. And that’s our basic message. We don’t need to be told how we’re not being paid or why we’re not being paid. We just need to be paid, you know?

But at the same time, it’s just so obvious how they just don’t care what we say. There isn’t one shred of a compromise position or offer. A lot of what they say on the website is the same justification they always make: The music industry was being threatened by piracy, and they’ve come along and rejuvenated [it with] billions that flow into the industry. Okay. But the question is, where are those billions going? It’s all being directed at a very small portion of the music industry at the very, very top of it. The three major labels [and the] major label artists who are at the top of the playlists are benefiting hand over fist.

According to the most recently released IFPI report, the global music market grew 7.4% in 2020, driven by streaming. Spotify points to figures like these as proof that streaming is saving the music industry from piracy.


I think it is akin to Facebook saying that they’ve saved journalism. It’s like, “Yeah, sure. There are more people reading journalistic articles on Facebook than there were subscribing to newspapers, at physical newspapers’ nadir.” But they haven’t saved journalism, they’re killing it. And Spotify’s the same thing. Yes, they have found a way to drain all the revenue that’s out there for music into one central place and make that grow through this new technology. But it’s at the sacrifice of this varied environment for the way that recorded music was shared before.

The pie chart that is so alarming is the one that the RIAA put out, where you see streaming at 83% of the recorded music revenue, and 17% left for everything else. Now, let’s think about everything else for a moment: Satellite radio, commercial radio, terrestrial radio, licensing for sink use, film, TV, commercials, performance rights organizations, BMI, ASCAP for public performance, physical media, downloads.

What’s wrong with this is it’s totally unhealthy. You can’t have a healthy marketplace when 83% of the revenue is in one place or one technology. And that’s the same thing with Facebook. It’s like, “Well, look, more people are reading these articles and trading them around.” It’s like, “Sure, but the environment is a monoculture of disinformation.” And that’s what we’re at risk of with this model.

Spotify claims that it pays 2/3 of its revenue to rights holders, like labels and distributors. The Loud & Clear website suggests that whatever amount of the Spotify royalties artists are receiving from the labels and distributors is a function of their record contract, which has nothing to do with Spotify.

Yeah, but this also has nothing to do with our demands. We are speaking as rights holders. When we say a penny a stream, we mean a penny a stream to rights holders. So how is it an answer to say, “We pay rights holders .0038 a stream?” Yeah, we know that already. That’s what we’re complaining about. Here’s the bottom line: Apple Music already pays double the rate that Spotify pays. Amazon pays triple. So we’re not pulling things out of the air that cannot happen, but clearly, Spotify is not prepared to sacrifice any of their profits to increase their payments to artists.

My old band, Galaxie 500, in 2020 had 8 1/2 million streams on Spotify. We received .0038 [per stream] for them. We’re our own label. There’s nobody taking a piece of that. Spotify can’t say, “Oh, it has something to do with our contract with our record company.” No. We are the record company. And that’s true for many, many independent artists.

And even if it’s not, how is it an answer to say, “Well, we paid your record company the same pittance that you’re complaining about?” Frankly, that’s an old music business trick, to talk down to artists, to throw figures around like we can’t understand them. And it doesn’t get to the heart of any of our complaints, which are well-researched and well-documented, and deserve real answers, not this kind of PR smoke-and-mirrors.

The real complaint that does exist in this conversation about the labels is about the three major labels that cut a deal with Spotify that created this entire system. Spotify couldn’t get into the US market without the cooperation of the three remaining major labels [so] they gave them ownership share in the company in exchange for the agreement that we’re all living with now, which is that the artist royalties are pitiful. But [the labels] didn’t care, they sold their own artists down the river because they got ownership.

One of the UMAW’s demands is for a user-centric model of royalty payment. On the Loud & Clear site, Spotify says “We are willing to make the switch to a user-centric model if that’s what artists, songwriters, and rights holders want to do. However, Spotify cannot make this decision on its own. It requires broad industry alignment to implement this change.” What’s your response to that?

They are partners with the labels. When they try and point fingers at the major labels, they’re pointing fingers across their own boardroom. So no one is stopping them and the majors from changing the deals that they’ve made. Also, nobody’s stopping them from revealing the deals they’ve made. The real transparency to me, as we’ve requested, have to do with opening up what those contracts entail. What are they really paying each other?

Now, all of that is somehow operating in this big, high powered money world that the stock exchange loves, that capital investors love. But artists are not benefiting. And that’s what we’re screaming about. And the reason we’re screaming is because they’re not listening and they’re not responding. We still have no conversation with them. No one from the company has contacted us.

On the day Loud & Clear was announced Spotify founder and CEO Daniel Ek said “fans ultimately decide who thrives” on the platform.

That angered a lot of people. That’s related to one of our main demands, which is for transparency. And when we say transparency, we mean about the terms and the money that’s being exchanged between the majors and with Spotify. But we also mean about how the algorithms are working and how the playlists are working.

The platform itself is directing you where it wants you to go and that’s the point of the playlists and that’s the point of the recommendation services and the algorithms that run those. There are human elements to those playlists and there are algorithmic ones. We do not know everything that goes into them, and we do not know the reality of how these decisions are made.

Spotify claims that it wants “More artists than ever to find success through streaming.” In your view, what would they have to do to accomplish that? Or do you think that they can under their current system?

I’d love it if they did it. Daniel Ek has said that his goal and the company’s goal is to have a million artists make their living off the platform. And then they come out with this defense that says that so far, 13,400 are making $50,000 or more. Now first of all, that’s a lot less than a million. The second problem is what is this $50,000 generated? They’re talking gross. Now first of all, most artists are on record labels. At best, you’re splitting that 50/50 with the label, so now you’re getting $25,000. Now the artist may be a solo artist who has no share with anybody else. But most likely not. I mean, music just doesn’t work that way. We have bands. We have groups. We have managers. We have a lot of people that it takes to make recorded music. Recorded music is actually a collective activity, so what do you get out of it? That’s what I can’t believe, is the gall that they put these figures out there that look like the figures we would put out. And they’re putting them out saying, “Look how great this is for the music industry.”

What it really all boils down to for me is that Spotify is not a music company. This is how it’s different than dealing with the world of the major labels, et cetera, which was always difficult for artists. But what has really changed is now we’re trying to deal with a tech company that actually doesn’t speak our language, doesn’t want to speak our language and doesn’t even have representatives who work with us.

And what it gets to, which is the deeper truth about our relationship to tech is that Spotify doesn’t need music and that’s really the problem. You can see them already moving away from music just like Amazon moved away from books. And really, I think it’s the same with Spotify and music. We are building their platform, and we are building their user base and they’re not compensating us fairly for that.

This interview has been edited and condensed for clarity.

YG’s “FDT” tops Apple Music chart following Biden win

YG’s “FDT” tops Apple Music chart following Biden win
The 2016 song has seen a massive surge in streams following Trump’s failed re-election bid.

By Jordan Darville

November 09, 2020

Photo by Leon Bennett/Getty Images


“FDT,” the 2016 song by YG and Nipsey Hussle better known as “Fuck Donald Trump,” topped the iTunes top 100 songs chart on Saturday. The huge surge in streams came after major media outlets across the United States declared Vice President Joe Biden the victor in the 2020 presidential election over President Donald Trump. The song currently sits at a still-impressive No.79.


The election result inspired a wave of celebration in cities across the country. If you were following along via social media from another country like I was, it wasn’t hard to find a video of a massive crowd chanting the song. Perhaps the best clip of the weekend came courtesy of CNN; on the ground for one of the celebrations, the network quickly cut to commercial once they, you know, heard the song.

Read Next:

View this post on Instagram


A post shared by @ yg on Nov 7, 2020 at 1:28pm PST


Watch the actual music video for “FDT” below. Who knows, maybe a re-release with footage from this weekend’s festivities is in the works.


Boiler Room partners with Apple Music to bring its mixes to the platform

Boiler Room partners with Apple Music to bring its mixes to the platform
The partnership will use a fee-sharing model that distributes royalties to DJs as well as music rights holders.

By Sajae Elder

August 19, 2020

Photo: Stuart C. Wilson / Getty Images.


DJ mixes have long had a tenuous relationship with streaming services due to royalty and copyright issues that made it almost impossible for all parties involved to receive compensation from them. Now, Boiler Room has partnered with Apple Music to add their catalog of DJ mixes and live performances to the platform.


The partnership boasts a fee-sharing model that would see royalties distributed not only to DJs, but to music rights holders including artists, producers, and songwriters. It’s not clear how exactly Apple Music will identify songs, calculate compensation, or track down rights holders for more obscure tracks.

“Having the ability to pay for DJ Mixes is something Boiler Room feels passionately about and is part of continuing efforts to compensate DJs & artists appropriately,” said Boiler Room founder and CEO Blaise Bellville in a statement announcing the partnership. “With 100% of royalties from the streams being paid to the rights holders and the DJs being compensated, these are such positive moves in the industry and something we’re immensely proud to be a part of.”


The catalog will also include Boiler Room’s Streaming From Isolation series, with recent installments including sets from Honey Dijon and Ben Klock. The club platform will also get a radio slot on Apple Music 1, formerly Beats 1, featuring new mixes and in-depth interviews.

Apple Music officially partners with Verzuz to stream battle series

Apple Music officially partners with Verzuz to stream battle series
The platform will also have on-demand streaming of past battles.

By Sajae Elder

July 20, 2020

Photo: Frazer Harrison/Getty Images for Bacardi.


Verzuz, the Swizz Beatz and Timbaland-helmed live-streaming battle series that’s been an Instagram Live mainstay since early spring, has now exclusively partnered with Apple Music, according to Billboard.


The matchups will air live via the streaming service for free at the same time it appears on the Verzuz official Instagram account. After that, fans will be able to revisit past battles by accessing them on-demand. So far, this on-demand access applies to future battles, including the upcoming one between Snoop Dogg and DMX on July 22. The platform also live-streamed the piano-backed face-off between Alicia Keys and John Legend, which can be enjoyed on-demand as well.

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Other past matchups have included Swizz and Timbo’s first spontaneous battle, Nelly and Ludacris, Jill Scott and Erykah Badu, and dancehall legends Beenie Man and Bounty Killer. There’s no word on whether these will also be available on-demand.


Cadell – Tower Hamlets Lyrics

[Verse 1]
Let’s take a tour of Tower Hamlets
I gave a whole new meaning to the word ‘Bored’ in Tower Hamlets
Now you can get bored in Tower Hamlets
Fatality, jealous, currency, you can get it all in Tower Hamlets
Tell me ’bout your hood, yeah your hood’s good
But its not at all like Tower Hamlets
Ask bout man
Already ran like 3 quarters of the Hamlets
You got a 20 year old daughter?
Then I probably brought her to the Hamlets
All we know is slaughter in the Hamlets
We don’t follow orders in the Hamlets
She was at Tower of London
That’s the other corner of the Hamlets

[Chorus 1]
I love getting out of Tower Hamlets
To you that’s grime playing
But that’s just the sound of Tower Hamlets
Lots of talent found in Tower Hamlets
Selling white and brown in Tower Hamlets
Keep all that loud shit in Hackney
Better quiet down in Tower Hamlets

[Verse 2]
Look how I’m riding round Tower Hamlets
How are you the King of Tower Hamlets?
My killers ain’t getting caught, know why?
Cos they ain’t been to Tower Hamlets
Feds on my back so much
So I never lick it in the Hamlets
You said you like money chasing, huh?
Try and give a tick in Tower Hamlets
I keep my Instagram private
Lovewillgetyoukilled in Tower Hamlets
And I wanna die in the war
That’s why I’m still in Tower Hamlets
With the right P, you can run the borough
That’s how it is Tower Hamlets
You can tell I’m big in Tower Hamlets
As for the kids of Tower Hamlets?
They’re goofy cappin’ to get face
End up trapping to get paid
To pay for hostels and haze
Choices that cost em their mates
Then they start goofy cappin’ to get stripes
Acting like it’s alright
Then they get girls pregnant
And don’t even check if the kids alright
Welcome to daily life in Tower Hamlets
You don’t want a wife from Tower Hamlets
They make us not trust women
Take it from me, I’m from Tower Hamlets
And that ain’t all in Tower Hamlets
Your own family will hate on you like Claudius and Hamlet
Show me a borough that hate on eachother more than Tower Hamlets

[Chorus 2]
I love getting out of Tower Hamlets
To you that’s grime playing
That ain’t what it’s called in Tower Hamlets
Lots of talent found in Tower Hamlets
Selling white and brown in Tower Hamlets
Keep all that loud shit in Hackney
Better quiet down in Tower Hamlets

It can’t be the same for ever can it?
It won’t be the same for ever will it?
Say this every time before I bill it
Niggas broke in Tower Hamlets
They ain’t got Spotify or Apple Music
They’ll hear this in 2 years and say my “new tune’s hard”
So many new recruits I don’t know who yous are
I got fans out of London I trust more
If I give em bricks they will move these fast
Round here they’re too slow, not waking up till like 3, half past
f**k all your old arse bars
I’ll never do the road with no half hearts

Drake Drop Two Tracks ‘Diplomatic Immunity’ and ‘God’s Plan’ [Stream]

Drake surprised his fans with two new songs “Diplomatic Immunity” and “God’s Plan.”

The 6 God came through on Friday night (January 19th) around midnight on the East Coast with two new fire singles. Before dropping the singles, Drake made a post on Instagram with what seems to be the title of his upcoming album or mixtape, Scary Hours. “Diplomatic Immunity” was produced by Nick Brongers and Boi-1da while “God’s Plan” was produced by Yung Exclusive, Boi-1da, Noah “40” Shebib, and Cardo.

Drizzy went after his haters on “Immunity” rapping, “Come at me and all you’ll get is the ballistic report, Booked a private room at Wiley’s, waiter twistin’ the cork, I got multi-colored rings like the Olympics, of course, At awards shows, cutting through the tension, of course.”

On “God’s Plan” he was a little calmer paying homage to his longtime friend and producer Noah “40” Shebib. “50 dub, I even got it tatted on me, 81, they’ll bring the crashers to the party, And you know me, Turn the 0-2 into the 0-3, Without 40, Oli, there would be no me, Imagine if I never meet the broski’s,” Drake raps.

Earlier this month, Drake shared a photo of himself in the studio while telling his fans that his just wrapped up an all-nighter. That post triggered a media frenzy surrounding his upcoming project. The Toronto rapper usually releases his projects towards the end of the first quarter of the year. So my guess here is he will release it sometime in March or April unless there are some unforeseen delays like what happened with More Life last year when he keeps changing the release date. Towards the end of More Life, Drake rap about taking a break from music leading us to believe that it would be some time before his next album arrives. That may not be the case after all.

Listen to both songs on Spotify and Apple Music.

Masicka – They Don’t Know [New Music]

Masicka wants the world to know his story.

The Genahsyde leader debuts his first single since the start of the new year, “They Don’t Know.” The single was produced by his in-house producer and is currently available on Apple Music and Spotify. “How them a gwaan like mi never hungry before, how them a gwaan like me never stumble before, Yo affi make it when yo humble for sure, cream in a cup and a no rum me a pore, how them a gwaan like say me born in a riches, Masicka deejay.

Following a phenomenal year, Masicka is off to a great start for 2018 with a number of new singles coming at the top of the year. “This is the first of many new singles to coming very soon so look out for more new material,” a rep for the deejay told Dancehall HipHop. “It’s a Genahsyde year expect big things.”

Listen to “They Don’t Know” below.

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Drake Hits 6 Billion For Second Year Straight As Rap Dominates Streaming

Drake has surpassed 6 billion streams in one year for a second straight year as rap music continues to dominate mainstream music.

For the second year in a row Drake was the most streamed artist on the planet across all genre, and for the second straight year, he hit the 6 billion milestone. Drizzy is currently the only artist in the world to ever surpassed 6 billion streams in one year and he did it twice already, Variety reported. The only other artist who got close to the Toronto rapper’s numbers is Future who racked up 4.2 billion streams last year, a clear sign that hip hop world dominance is showing no signs of slowing down.

Music streaming has been seeing a massive growth with twice as many streams on any given day last year, 1.67 billion stream per day, when compares to 2016 which was averaging around 560 million daily streams. Streaming services like Apple Music and Spotify continues to see massive growth in the number of paid subscribers as fans move away from buying and downloading songs to just streaming them via their smartphones and other compatible devices.

There is still a bit of a fuzzy area when it comes to the reporting on Drake’s streaming numbers since Spotify announced last month that Ed Sheeran racked up 6.3 billion streams on the platform last year. We also know that Sheeran had the most streamed album with his LP Divide picking up 2,645,600 equivalent units. Not surprisingly, Luis Fonsi and Daddy Yankee’s “Despacito” was the most streamed song of the year with over 1 billion streams with Ed Sheeran’s “Shape Of You” being the second most streamed song when it picked up 979.3 million listens.

Last month, Apple Music reported that Drake’s playlist, More Life, was the most streamed album in 2017 on their platform, followed by Ed Sheeran’s Divide.

We also take a look at the makeup of Hip-Hop/R&B songs on the streaming charts and found out that 50% of the top 1,000 most streamed songs of the year was in the urban category. Hip-Hop/Rap made up 20.9% of the total streams last year making it the most listened to genre.

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Chance The Rapper Says Lil Wayne Is The Michael Jackson Of Rap Music

Chance The Rapper thinks that Lil Wayne is the Michael Jackson of rap music.

The Chicago emcee recently got into a Twitter row with some fans who claimed that he is the only independent artist to make it big and no other indie artists will ever get as big as he is. That assessment didn’t sit well with Chance who taste mainstream success over the last two years. The argument started over an article about the same topic involving a conversation between Apple Music’s Carl Chery and the hosts of Everyday Struggle where he spoke about the deal Chance the Rapper made with Apple to release his 2016 album The Coloring Book exclusively on Apple Music for two weeks.

Chery didn’t disclosed the full amount of the deal, but did say that Chance is a phenomenal artist with a great team around him. What really got the “No Problem” rapper angry was when some folks suggested that no other indie artist will reach the same height as he is. 2017 was a big year for artists signing major label deals. One fan on Twitter then asked him who is the Michael Jackson of rap.

“People jokingly say Em’s the Elvis of rap.. Well who’s the Michael Jackson of rap?,” the fan asked to which Chance responded saying, “Dwayne Michael Carter Jr. He been in this sh*t.” Dwayne Carter is Lil Wayne’s real name and comparing him to the great king of pop is far reaching given the heights that Michael Jackson reached in music.

People jokingly say Em’s the Elvis of rap.. Well who’s the Michael Jackson of rap?

— Lucius Septimius Bassianus (@CrookedIntriago) December 24, 2017

Dwayne Michael Carter Jr. He been in this shit.

— Chance The Rapper (@chancetherapper) December 24, 2017

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Gucci Mane Drops “El Gato The Human Glacier” Album: Listen

Gucci Mane is back with another album just before Christmas, El Gato The Human Glacier.

The 11 track album comes with not a single guest feature and was produced entirely by Southside. On the project you can find singles like “Peeping Out The Blinds,” “Mall,” “Side EFX,” “El Gato’s Revenge,” and more. With this new freezing album, Gucci Mane caps off a big year where he he dropped a joint project, Droptopwop, with Metro Boomin, another solo album, Mr. Davis, in October, and getting married to his longtime girlfriend Keyshia Ka’oir.

Aside from Cardi B, Gucci Mane perhaps had one of the biggest years in hip hop among artists after being shipped home from prison in May last year looking a lot healthier and happier. The East Atlanta Santa rapper announced the new album last month, telling his fans on social media that it will arrive in time for Christmas. He made good on that promise and his fans are happy. He also informed us that the project will come with no guest feature despite 21 Savage being featured on the “Just Like It.” But Savage is not credited on the album for the feature.

Gucci Mane announced earlier this week that he will be making a movie about the album. “I’m gone make a movie about #ElGatoTheHumanGlacier so consider the 12 songs as my first screenplay,” he wrote on Twitter. Listen to the new album El Gato The Human Glacier on Apple Music below.

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G-Eazy Drops Double Album “The Beautiful & Damned”: Listen

G-Eazy double album The Beautiful & Damned is now available.

The robust album packs 20 singles with guest appearances from E-40, Jay Ant, Kehlani, A$AP Rocky, Cardi B, Charlie Puth, and more. G-Eazy announced the album back in June and after six months of quietly working on the project he finally delivered it to his fans. Puth is featured on the single “Sober,” Cardi B and Rocky came through on “No Limit,” while Kehlani is on “Crash & Burn.” Among the producers who put in some work on the project includes Murda-Beatz, Boi-1da, Allen Ritter, The Futuristiks, and J Gramm.

“This is the next chapter of Gerald,” G-Eazy told Billboard. “I think [the fans] know me well enough by now, so this is just the next chapter of my life. I’m further exploring my Gemini; you know, the duality and the split personality of who I am. That’s The Beautiful and Damned. There’s multiple layers to the title and the concept of the album, but that’s one of the better messages. I’m exploring that yin and yang of my personality.”

Seven of the songs on The Beautiful & Damned were released ahead of the album. You can listen to the entire project below on Apple Music.

Migos, Nicki Minaj & Cardi B Drop “Motorsport” Video On Vevo

Migos, Nicki Minaj and Cardi B new video “Motorsport” is now available on Vevo.

The cut was exclusively released on iTunes last night but for those who are not subscribers to Apple Music can now view it on YouTube. The futuristic video was kicked off by Quavo who raps beside his vintage Ferrari. The fast and furious inspired video also features Offset and his girlfriend Cardi B riding off into the night in their supercar. What is very interesting about this video is the fact that Nicki Minaj and Bardi was never in the same scene together.

Nicki Minaj caught everyone eyes with her skimpy and shiny outfit. The Young Money rapper stepped in front of the camera wearing long pink braids while gyrating behind a white vintage Lamborghini. “Motorsport” is the first single to be released from Migos upcoming album Culture 2, slated for release in January. The Atlanta rap group has been working on the project for the last couple of months and it will be the follow-up to their No. 1 album Culture, released in January of this year.

Watch the video for “Motorsport” below.

Listen Big Sean and Metro Boomin Joint Album “Double or Nothing”

Big Sean and Metro Boomin new album Double or Nothing is finally here.

Sean Don and Boomin come together with the help of some of their famous friends for a 10-track production that will keep your head nodding for the rest of the year. The tracklist includes guest appearances from 21 Savage on the single “Pull Up N Wreck,” Swae Lee on “Reason,” Travis Scott on “Go Legend,” Young Thug on “Even The Odds,” Kash Doll on “So Good,” and 2 Chainz on “Big Bidness.”

The project was only announced last week and earlier this week, Big Sean revealed that it will be hear on Thursday at midnight. Metro Boomin is also having a big year with two joint projects with Gucci Mane and 21 Savage. During a recent interview with Billboard he explains his thought process about putting the album together. “I was born in ’93,” he said, “and a lot of projects [from that era] had one producer, maybe two. They sounded more cohesive — better as a whole.”

“I believe music is a way of getting away from things,” Big Sean added, “but it was heavy on my heart, and I felt the need to talk about it.” This is BS second album this year after dropping I Decided in February.

Listen Big Sean and Metro Boomin joint album Double or Nothing below. The album is available on Spotify and Apple Music.

Jaden Smith Drop New Album “SYRE” (Stream & Download)

Jaden Smith new album SYRE: A Beautiful Confusion is now available for you to listen to on major streaming services like Spotify and Apple Music.

The album arrives three years after the rapper announced that it is in the making. The album comes with 17 tracks including the previously released singles “Batman” and “Watch Me.” A$AP Rocky is featured on the single “Breakfast” while Raury is featured on “Falcon.” Elsewhere on the album you can find singles like “Rapper,” “The Passion” which inject a little trap music, and the smooth joint “Lost Boy.”

According to Jaden Smith, the album is right for the time, despite the numerous delays over the past three years. During an interview with iHeartRadio back in March this year, he revealed that he has been working on an experimental genre. “I have a new genre I’m trying to work with that’s called Pop-Runk,” the rapper said. “I don’t really know what that means and there’s no definition for runk in the English dictionary. I feel like that’s what it is. It’s pop mixed with something you don’t know, that you don’t understand, that you cannot describe.

Stream Jaden Smith new album SYRE: A Beautiful Confusion on Spotify below.

Alkaline Overthrows Vybz Kartel For Top Dancehall Song This Week

Alkaline has overthrows Vybz Kartel for the top dancehall song spot this week.

Vybz Kartel’s “Mhm Hm” was the leading song in dancehall at least until this week when it was overthrown by Alkaline’s hot new single “Suave.” The rivalry between Kartel and Alkaline is showing no signs of slowing down and this can only means more hit songs for their respective fans. This week, the Vendetta leader seems to have the upper hand with two new singles bubbling on the dancehall airwaves.

Since it’s released a week ago, Suave clocked 1.2 million views on YouTube and around 3.5 million streams on Apple Music and Spotify. Coupled that with airplay on radio and in parties helped pushed the song to the top spot in the dancehall space in a week. Vybz Kartel’s new single “Kremlin” produced by Rvssian is also doing very well with around 850,000 views on YouTube. That song was also released the same day that Alkaline dropped “Suave” and is currently the second most listened to dancehall song over the past week.

There is currently an intense debate among dancehall fans on social media about which of the two songs is better. You can share your thoughts in the comments below.

CyHi The Prynce & Kanye West Drop Joint Single “Dat Side”

CyHi The Prynce and Kanye West teamed up once again for a new single “Dat Side” and you can now find it on iTunes/Apple Music.

Been a while since we’ve heard from Kanye West and since around the beginning of the summer of this year we heard that he was locked away working on a new album. On this track, CyHi The Prynce raps about Atlanta, selling drugs and banging females. If you’re not into all of what he is rapping about then simply just stand on the sidelines.

Kanye West follows a similar pattern in his lines over a piano-laden beat. “All the haters hating, wait a minute, stand on dat side / Moved into a neighborhood where I’m the only black guy / People claim they praying for you, really they be preying on you / All this sh*t is weighing on you, don’t look back, they gaining on you,” Kanye raps.

The track “Dat Side” is like a new anti-hater anthem to help you get by for the rest of the year and CyHi and Kanye did a pretty good job with their wordplay. Listen to the track on Apple Music below.