Dew Baby, “ATM” (DC1135, 2013)
prod. Young Clip

A couple recent Clip-SB joints that kinda flew under the radar even tho Dew Bae’s is on worldstar under DRINKS CHAMPAGNE OUT OF STRIPPERS ASS CRACK.

Word is Oochie’s pushing his tape back again, ol self-shelving face ass. we’re gonna hear rawse on clip’s work before Oochie’s project ever comes out. “Trap Shyt” is great tho.

Oochie, “Trap Shyt” (DC1135, 2013)
prod. Young Clip & Da Tayloso

PWild, “From The Streets” f/ Deuce Dagger (DC1135, 2013)
prod. Young Clip

Yung Gleesh, “Its Sad Boy” f/ Yung Lean (2013)
prod by Young Sherman & White Armor

its best-of season again already n i still have my 2012 list floundering in drafts (my dc one; my at-large joint is only like six pages back). ill getem all up soon i hope, in between all this not at all rap related work in front of me, but smh its obvious I’ve been lackin this year. I’m still sitting on all these pics n notes that were meant for the city paper, stuff ranging from this past summer’s glizzy day to that time keef was supposed to perform at the star two summers ago n all sorts of stuff in between.

Its gotten to the point where I’m considering forwarding it all to tha gawd sarah godfrey n seeing if she can spin gold w my straw. her piece on Polo n bounce beat that ran last week is already essential litra-ture for anyone following the area’s gogo or rap scene:

Polo and TCB didn’t just create a new sound; they inspired an entire new universe of go-go. The rototom-dependent subgenre was initially maligned—some called it “noise,” others argued that it wasn’t go-go at all. Criticism of bounce beat was similar to what was said about the trap rap bubbling in other cities around the same time: It was blasted for its sometimes suggestive lyrics, its thwacking beat, its tempos that vacillated between syrupy and frenetic.

The brash style not only changed the way people danced and partied but became the music for a new chapter in D.C.’s story. If the swing sound carried a generation of Washingtonians through the rough ’70s and ’80s, a time when funk, jazz, and soul was a much-needed salve, bounce grounded them in the ’00s and ’10s, helped them keep their bearings at a time of shifting city demographics, when go-go’s epicenter realigned as the sound of black Washington, at least from the ’70s onward, was pushed to the suburbs.

The clash is real out here n nobody’s safe. Even within this new guard of gogo things weren’t ever a united front especially btwn old heads n young, as Polo describes in this 2008 interview w/ Fam. idk the whole story btwn TCB n TOB — its rare that anyone ever does — but its pretty obvious that “situation” or whatever still carries weight even among ex-TOB dudes.

And then, from the newly emerging rap side of things, there’s this hour long collection of street footage n block anthems from hoods all over DC that’s been advertised by these british promoters w/ local ties, Team Major/OMF, as a “documentary exposing Shy Glizzy”, who in a straight up shakespearean twist also happen to be the same dudes who took CHIEF KEEF of all ppl for more than $230,000 over a London no-show a couple months ago. enemies of enemies. lmao to alla that.

Anyways, i never meant for this get this long. All i originally wanted to do was post this “Sad Boy” edit i cut together sans Yung Lean’s disposable ass. Maybe one day, whenever noisey n wavriel’s Facebook illuminati crew stop fukkin around, Lean’s existence will make retrospective sense as the lone Södermalmian to appreciate n encourage fellow Södermalmians Yung Sherman n White Armor early on. Till then, Nas’ collab w/ Supreme NTM will stay the closest I’ll come to even trying to understand european rappers n their accents, n those dudes put out like a half dozen albums w/ sony.

prod. Yung Sherman & White Armor


easily the best song trel previewed as part of his SDMG tape, it for some reason didn’t make the release n was instead teased at w rumors of maybe showing up somewhere on Self Made 3 but since no one anywhere really knows wtf is goin on w trel n MMG, it didn’t show up there either n now finally drops but credited as Black Cobain’s. still trel’s tho, one of like four that probably should’ve shown up on his last tape. I mean, both of them open rapping bout broke girls n their motherless children — a community service according to some — but by the end trel’s shifted the shade to broke boys n comes out the other side still likely to get some. all of that “fingernail-toenail done up” n “told u meet me by the car, here I am here you are n u looking at me like u bout to come up” talk is slick. black tho, he’s out here calling y’all stupid bitches for mispronouncing “Hublot” n asking for toupee. TOUPEE. dog.

anyways, Black’s Perfect Contradiction drops on the 3rd.



FlyySkii, “We Dew” (2013)
prod by FlyyTone

are all of yall really from cheverly terrace? like, the one building? got dam. how many rappers izzat per floor?

also shout out to the mark in that cutaway he’s got maybe about three seconds of cumulative screen time but sometimes thats all u need to recognize talent i mean look at dude

wow, raw

SMD, “Know My Name” (2013)