Browsing Tag

8Bit Hip Hop

The Megazord Effect: MannyPacquiloud & LjayNFG Sync Firepower on ‘Fantastic’

MannyPacquiloud

When MannyPacquiloud and LjayNFG collide on Fantastic, the outcome isn’t just collaborative chemistry—it’s juggernautical. The hyper lo-fi hip-hop speaker slammer rides a rift in the genre’s continuum, shooting 8-bit synthetics and phasers across the mix like it’s an arcade battleground loaded with charisma-charged artillery. The conviction behind every bar proves MannyPacquiloud isn’t just tracking with the future of hip-hop—he’s hauling it on his back with unapologetic force.

It’s a spacy oscillation of pure lyrical volition. The beat bucks expectations with distorted minimalism, letting the distorted textures run riot while the vocals carve clarity out of chaos. The collaborators match the momentum with equal intent, making sure the tag-team format never slips into competition—only combustion.

There’s no gloss, no clean-cut production polish; it’s raw by design. Each element is engineered to elevate the energy, not dilute it. The low-fidelity framework serves the track’s ethos—it’s punchy, primal and built for the underground, where aesthetics bow to authenticity. This is what it sounds like when artists prioritise force over pretence and still land every blow on beat.

MannyPacquiloud’s ability to channel chaos into cadence shows he’s not just rapping for the now—he’s setting the stakes for what comes next. And if Fantastic is anything to go by, the altitude of hip-hop vibes might just be reaching stratospheric new levels through his talent.

Fantastic is now available to stream on all major platforms, including Apple Music.

Review by Amelia Vandergast.

KiDD Crash hit hard with his hyper-trap earworm, Fuck with Some Bitches ft Res YaxX

KIDD Crash’s seminal alt-rap track, Fuck with Some Bitches’, featuring Res YaxX, obliterates genre boundaries. This high-octane track from the 2024 LP Partycrasher strikes like a sonic wrecking ball, merging hyper-trap tempos, polyphonic production, and silky vocal lines that tether the chaos. In a frenetic mix teetering on the edge of over-facing, the melody pulls through like a lifeline, steering listeners through the trippy, neon-lit, 8-bit-adjacent soundscape.

Hailing from Cleveland but shaped by Toronto, Ohio, and Florida influences, KIDD Crash (Jamelle Lillard) proves he’s no ordinary upstart. Armed with an honours degree in music production and a grind-hardened work ethic honed since his 2015 debut, Crash fuses raw ambition with the technical chops to rival his idols—Drake, The Weeknd, Kendrick Lamar, and J Cole.

His dedication has seen him crossing borders to film music videos in Negril and Toronto, yet his roots in Sanford, Florida, remain grounded. Having first recorded music in his stepfather’s home studio at age 10 and cut his teeth on an upright bass in his high school orchestra, Crash’s sonic evolution has been a lifetime in the making.

With its acerbic wit and blistering conviction, Fuck with Some Bitches doesn’t just slap; it commands attention. As we step into 2025, KIDD Crash may still be hustling for his chart-topping breakthrough as a criminally underrated artist, but if he keeps on producing hits in the same vein as Fuck with Some Bitches, justice will soon be served.

Fuck with Some Bitches is now available to stream on all major platforms, including Spotify.

Review by Amelia Vandergast

3G Internet – KRASH: An Anti-Pop Alt-Hip-Hop Debut to Lose Your Head To

3G Internet, the Experimental Hip Hop/Anti-Pop duo from Northeast Ohio, literally crashed into the music scene with ‘KRASH’, a track from their debut EP that defies convention with maximum conviction.

KRASH is a 7-minute audacious trip that rips up the rules and scatters the ashes of mundanity through the harsh tonal hues that pay an ode to the legacy of Death Grips and JPEGMAFIA. It’s a chaotic blend of gritty, glitchy electronic distortions and 8-bit landscapes, that makes no apology for launching an assault on the senses.

It’s a whirlwind of ideas, each vying for attention, yet somehow harmoniously coexisting. The duo’s disregard for industry norms is evident in every beat, every synth, and every lyric. In short, KRASH is a  ballad of the bizarre.

The duo’s approach to music is refreshingly honest. They pursue every idea, no matter how outlandish, and the result is a track that’s as authentic as it is avant-garde. In a world where music often feels manufactured and soulless, KRASH is a breath of caustically fresh air.

The debut EP is now available to stream on Spotify.

Review by Amelia Vandergast