Browsing Tag

Hyper Hip Hop

Grab a hyper 8-bit of American drill with Slaywitme’s latest single, good guys

Posted on 27 February 2023

‘good guys’ is the latest feat of hyper 8-bit hip hop from the alt-rap artist, Slaywitme, who has had multiple viral hits since making his debut in 2020. His first single, morrigan, has racked up over three million streams on Spotify alone, and his latest collaborative hit with Dom Corleo is just as hype-worthy. Don’t take our word for it; delve into the galvanizingly polyphonic panache of the high-vibe earworm from the New York-born, American drill icon.

With the manga-esque motifs draped over the reverberatingly heavy bass lines and Slaywitme’s unfuckwithably playful bars, there’s no resisting the infectiously exhilarating propensities in this new wave trap anthem that is sure to splice even more accolades into the career of the luminary rapper.

Check out good guys on Spotify now.

Review by Amelia Vandergast

The hypersonic hip hop heavyweight, Chaz Matador, is back on his throne with ‘Bone Cage’

Posted on 5 July 2022

If you could imagine what it would sound like if Gary Numan veered into the arena of hypersonic EDM hip hop, you may get an idea of what is in store when you hit play on Chaz Matador’s latest single, Bone Cage.

The full-frontal production isn’t for the faint-hearted; the Albuquerque-born, Portland-based artist is one of the few bold enough to comfort the disturbed and disturb the comfortable. Forget giving Beastie Boys a run for their money; he challenges them to a sprint across the length of a futuristically warped stratosphere and holds them to ransom.

In his own words, he’s a “botched love spell eternally pregnant with imagination”, and his music channels perpetual dissatisfaction with nothing and everything into a mosaic of mediums typical of the attention-span obliterated millennial. We officially love him.

You can watch the official music video for Bone Cage on YouTube. Although, we’d probably advise against it if you’re epileptic. That probably goes for the soundscape itself.

Review by Amelia Vandergast