Hailing from Japan, Avec Avec otherwise known as Takuma has been making waves in Japans underground electronic scene for years now. I first came across the artist after hearing a release of his on Astro Nautico’s 7 by 7 album with his the track The F.O.R.C.E Is With U, and after the first 10 seconds of his track… I was hooked (give it a listen and I think you will understand what I’m talking about). Avec Avec first started his musical journey as a member of the group Sugars Campaign, a Japanese duo comprised of Avec Avec and Seiho Hayakawa from Day Tripper Records. Avec Avec has gone on to release a number of remixes and various singles that he has released under his own name.

What has so avidly caught my attention with this artist is his intriguing use of vocals in his tracks, which are a lot of the time sung in Japanese which is defiantly something new and interesting sounding for me. The elements of percussion used in many of his tracks has a certain trap influence to it, but he still manages to stay away from the genre entirely by layering his songs with the warmth of 80′s pop synths. The production is as clean and intricate as it gets with new twists and turns in the music every few bars that will put a smile across your face and a pep in your step.

I’ve always had an appreciation for Japanese electronic music because so many Japanese artists successfully integrate sounds of their culture into their music, bringing us a new and exciting sounds that have obvious traditional roots. Japanese artists like DJ Krush and Ryuichi Sakamoto have done wonders for electronic music and with new genres of music rapidly being born over the last few years, its artists like Avec Avec who will be taking the wheel and bringing us new interpretations on the Japanese underground electronic music scene.

The post おしえて- Avec Avec appeared first on The Metropolitan Jolt.

Those who need to lift their spirits should turn to Ghostpoet, one of the most intriguing and unique musicians to surface over the last couple of years. While actively playing the part as producer, lyricist and vocalist, the Londoner is dissolving the dividing lines between genres. Ghostpoet (Obaro Ejimiwe) launched his second album Some Say I So I Say Light on May 6th off the Play It Again Sam label, from which ‘Meltdown’ was the first single to drop. British female vocalist Woodpecker Wooliams sang the hook and chorus lines on this track, which were successfully recorded after only two takes.

Some may be familiar with the work of director Dave Ma, who has worked on videos with Foals and Flight Facilities. Ma was brave for taking on a track as tricky as this one. The percussion is somewhat irregular and it unexpectedly hits you from the moment it enters the song. At first, the video comes off as over-simplistic and nondirecitonal, but the more you watch it, the deeper the lyrics set in your veins, and you begin to understand that Obaro is narrating a very heavy, emotional scenario – one that Ma executes cleverly. He captures this all in one long continues take, while the scene is bifurcated into 2 separate frames, following 2 different couples who end up within feet of each other on one of those English double-decker busses that everyone loves. The meltdown is manifested in the characters’ faces, which are full of torment and uncertainty.

“So it won’t be forever then
I can’t do forever friends
Cause something in my character just takes a hold
And throws me out the car.

Maybe if I looked afar
I could stop this catastrophe.
But you and me weren’t meant to be
And someone somewhere knew that from the start”

‘Meltdown’ stops a mile short of a love song. The lyrics show how desperately one wants to just break up, but they’re also self-assuring that it’s the right thing to do. Nothing guides the meltdown in the video like Obaro’s mesmerizing half-reciting-half-singing voice. Among the calamity it seems to be the one thing that stands out as calming and graceful. You can almost feel his presence (and at about 1:40 in he just pops in like the ghost he is). In the end, the video turns out to be bittersweet while modestly beautiful, appropriately capturing the song in its essence.

Seriously, Ghospoet has talent beyond recognition. He co-produced Some ‘Say I So I Say Light’ with Richard Formby, and I can only imagine how he destroyed the rest of it with his incredible lyricism. There are huge things to expect from him and I have no doubt he is about to blow up beyond Europe. You can grab ‘Some Say I So I Say Light’ right here.

You also might want to check this out:

The post Ghostpoet – Meltdown [Music Video Review] appeared first on The Metropolitan Jolt.

“P and C polo, money gettin’ so dolo

shinin’ hard, rose gold ever since I went solo

baby girl, she see me respect the fact I be workin’ hard,

graduated high school to the pros then I hit the mall…”

I swear Casey Veggies just gets doper and doper every new release I hear from him. The 19 year-old LA rhymer and Roc Nation signee has been on Metrojolt’s radar since waaay back in 2011,  when he dropped the well-recieved Sleeping in Class, a tape that still get’s play on my iTunes from time to time. His most recent release, a smooth, reflective track entitled ‘Money Don’t Buy Time,’ was leaked by Veggies to fans to make up for the postponing of his PNCXX Tour with Travi$ Scott.  All I can say is that if Casey is gonna drop a song this good every time a tour get’s pushed back, he has Metrojolt’s OK to stack up on rainchecks.

Perhaps one of my favorite things in Hip Hop is watching an artist’s progression over time.  Though he’s been dropping music since age 14 in 2006/07, I really began tracking Casey Veggies’ artistic maturation after he released Sleeping in Class. On the 2011 tape, he emerged as this wide-eyed newcomer with an undeniably smooth LA vibe, but it was his youthful and candidly honest subject matter – relationship issues with girlfriends, his ailing grandmother, the stress and uncertainty of trying to make it as a 17-year-old rap star in LA – that really drew me closer Veggies’ music.  Two years and two mixtapes later, I still see seeds of that same Casey Veggies present in this song.

‘Money Don’t Buy Time’ reflects a Casey Veggies perfecting his sound. Fantastic production by Sacramento, CA’s-own, Lee Bannon sets a spacey, introspective vibe that fits in perfectly with Casey’s genuine openness on the track.   Veggies has been getting increasingly more comfortable with his flow and it’s really starting to show in the way he muses through this track:

Sometimes I sit back thank God I made new songs

We out in NY doin’ meetings I’m feelin’ too on,

My reality, leave my heart as a casualty,

I took her down first, and I don’t want no one after me

She took the boy to church and made me and the pastor meet

I’m thinkin’ bout joinin’ every time I be goin’ in

I been tourin’, my whip foreign, was born great,

Your chick worn out and borin’, my chick fornicate

some people fuck with me heavy, and there’s some people that hate me

one thing they got in common is that none of em made me…

There are plenty of rappers in the game, probably even too many.  This makes it harder and harder for the average emcee to differentiate him/herself from the pack. Under these increasing pressures, I have to commend Casey Veggies: instead of conforming to some random gimmick or tried-and-true formula, it’s nice to see an artist like Casey Veggies just sticking to his own story and offering it to listeners saying “take it or leave it.”

With music sounding this good though? You’d be crazy to not to take it.  Looking forward to more new material from the kid!

Also, if you haven’t already, peep Metrojolt’s interview with Casey Veggies as well as our review on his last mixtape, Life Changes. 

Follow him on Twitter  or check out his website.

The post Casey Veggies – Money Don’t Buy Time [Song Review] appeared first on The Metropolitan Jolt.

Now, I don’t know where you’ll be reading this from, but here in LA it is way too goddamn hot. I can only handle so much sunny time vibe, and I often find my mind drifting to thoughts of luxury ski resorts and days filled not with sweat and high AC prices but with snow angels, sore legs from a day on the mountain, and cocoa by the fire. Ah, how I miss winter.

Unfortunately for me and all my lethargic LA brethren, the heat is on and won’t slow ’till September. To help us through it, I’ve put together a collection of snowy tracks to help you cool down in the beating sun. Enjoy!

First is future HARD Summer performer and Body High champion Jerome LOL’s ‘HOUSE TRACK 4 SAM’. I think this one was actually released around the holiday season, and with good reason. The brilliant vocal manipulation coupled with a kind of deep house-y clave-esque synth line create really cool vibes, in both senses of the word.

This next track is a year old but it hasn’t lost any of the cool, laid back vibes only Azari & III can pull off so well. Something about deep house just really gets me feeling chilly, not to mention that mesmerizing synth line shooting me to a cabin high in the mountains with nothing but me my groove and I.

Snowy tracks don’t have to be deep house I suppose – here’s an absurd remix of Tiga & Jori Hulkkonen’s ‘Trust Your Body’ from Butttrixxx. It reminds me of an avalanche for some reason.

The new Mount Kimbie album is almost here, and even though we’ve heard a few more tracks from it since, my favorite remains ‘Made To Stray’. Without fail, that vocal bit (quite literally) sends chills down my spine. Perfect for escaping the heat.

For those initiated, it might seem strange to post a Chris Malinchak track on a winter centered playlist. Better for summer right? Our good buddy MK (Marc Kinchen) turned Malinchak’s ‘So Good To Me’ into a rolling, deep, chilly masterpiece that doesn’t lose any of that French Express groove while adding that signature MK sound.

Just look at that album art. Jonwayne does it again. Brrr!

I admit, this one’s a bit warm. I’m sorry. I just want to have fun. Have fun and make money.

There’s something cool about the warmth of vinyl…if that makes any sense. This set always makes me feel like I’m smoking a long pipe, reading some Nietzsche, wearing a magenta silk robe, and petting my soft miniature husky in my book filled study by the stone fireplace while snow falls on the windows. A personal fantasy of mine, if you couldn’t tell.

If Karma Kid isn’t cool, I don’t know what is. This beat oriented rendition of Kendrick Lamar’s ‘Swimming Pools’ takes the vibe of the original and goes way deeper, way darker, and way cooler with it.

And finally, we have Star Slinger’s bootleg remix of Lion Babe’s ‘Treat Me Like Fire’. You may be familiar with Star Slinger from his Jessie Ware and Bondax remixes – absolute brilliance in taking listening oriented tracks and making them dancefloor ready. Title aside, this bootleg has wonderfully complex rhythms and smooth, flowing vocal treatments that just scream cabin groove fest.

Welp, there you have it. Ten of my personal favorite tracks to beat the heat in this disgustingly hot LA sun. I wish it would rain…but that’s a conversation for another roundup! See you next time.

The post Beat the Heat [Soundcloud Roundup] appeared first on The Metropolitan Jolt.

I read a review of your most recent EP that called the title track a ‘timeless sound’. Do you have that in mind when making a record or is it something that just happens?

It just happens. It sounded timeless because you just never get bored of it. You know, you can play it over and over again without getting bored, it gives you different emotions every time you play it. I think that’s what timeless is. It just happened. You can’t prepare, or you can’t say ‘oh, I’m going to do a timeless record now’, it just happens as you go along, which is really amazing. The more you put emotion, the more you feel, the more it shows in the music. I think that’s what happens normally.

If you haven’t checked out Phil’s interview last year with Nicole Moudaber, you’re missing out on possibly the hottest thing in techno.  Crowned the “Queen of the Underground” and dubbed the “Queen of Techno”, Nicole left her colossal footprint in the genre a while ago.    With numerous releases out on Carl Cox’s label and her own imprint MOOD shooting off, you could say Nicole’s been around the block a couple times.  She took the #5 spot for our Top Essential Mixes of 2012 and even Rolling Stone took a liking to her.  But here’s the best part.  Her debut album, Believe, was just released a week ago on Adam Beyer’s illustrious Swedish techno label Drumcode, and her North American tour is hitting San Francisco, LA, Denver, NY and Vancouver in the next week.

So, if you want to know a deeper and more sophisticated look on what’s going on in the world of techno right now, don’t miss this opportunity to catch Nicole on the 1s and 2s at Vessel in San Francisco or any others.  Stream a preview of Believe below, and check to see if she’s coming to a stop near you.

The post Nicole Moudaber @ Vessel [Show Preview] appeared first on The Metropolitan Jolt.

London is home to some of the world’s most talented musicians.  They’re the musicians that make you stop and take a deep breath while listening to their music.  It’s that city in Europe coupled with Berlin and Barcelona as the ‘mecca’ of electronic music, which forces the subconscious in your mind to travel to it….even if just for a night.  That night tends to be unforgettable, depending on how much you drank before your adventures.  Anything could happen.  You might wander into the plethora of bars and clubs in London with lesser known DJs blending music beautifully on the 1s and 2s, and be blown away by the amount of talent they present.  You might become bewildered by the camaraderie in the air between the crowd linked together by a thread of passion for the music.  Everyone’s smiling, everyone’s happy, and you just found your third new favorite song of the night.  All of this could happen; it’s simply up to you to make it a reality.

The reason I preface this review with my idealistic rant on London is because I dream of visiting one day; I can only speak on what I’ve heard in stories.  That and the music that comes my way frames my view of London, and it’s become a wonderful home in my imagination.  Now mind you, I’ve been once before, but it was only for a couple hours en route to Africa, and it’s remained to this day my greatest regret.  EP after EP, my vision of London gets grander and more magical.  One such EP is iO Sounds’ You/Me EP.  A 6 track release, the EP features two originals by London producer iO Sounds, aka Rob Burn, with supporting remixes from Mak & Pasterman, Forget Me Not, Lakosa and Metrojolt favorite, Ado.

The catchy You/Me original starts off this EP with a fun-loving house version.  It’s so infectious, you might start trying to sing along with the chopped vocals until you notice there’s nothing in the English language they sound like.  Echoing beautifully along the skittish snares, the track is full of deep FX, giving it it’s aqueous vibe.  It’s damn-near impossible not to feel your muscles twitching as you listen to this playful melody.  When Mak & Pasterman take a turn with it, You/Me becomes just a tad’ darker with resounding kicks and stabby synths with soaring effects; it’ll be hard not to jump out of your seat.  Forget Me Not’s remix glides in air with a chopped rhythm, layered on top of some wooden percussion.  Now cue in acid techno connosuier Ado, who gives a bit more organic life to You/Me.  With a gliding synth line, Ado plays with the synth’s energy until midway through when You/Me explodes with vitality.

The EP’s other original Dirty Little Secret is a bit slower with airy vocals at first.  The vocals soar above some lush pads which harmonically lead this track into it’s UK style explosion, balancing aptly between bass and house.  As the percussion shifts in the middle, the ambience of Dirty Little Secret changes for just a fleeting moment.  If you want a deeper remix, Lakosa has you covered with his version, offering dusty hi hats and rolling kicks underneath those alluring female vocals.

There’s no doubt that Diamond & Raw are taking house music by storm in the UK.  Pick up your digital copy of this wild project on May 27th, or if you’re so inclined, grab the vinyl here .

The post iO Sounds – You/Me EP appeared first on The Metropolitan Jolt.

Disclosure’s latest track ‘You & Me’, a vocal driven garage anthem with a wonderful video to boot, has recently gotten the remix treatment from Baauer, the beloved and hated creator of ‘The Harlem Shake’. My first concern regarding this remix was the style that Baauer has helped to propagate - big, cheesy 808 trap bass tracks with very little concern for movement or feeling. So much of what Baauer stands for directly contradicts the groove that Disclosure has worked to create, I couldn’t imagine this remix going very well.

Luckily, I was wrong. Baauer certainly proved his musical merit with this remix, creating an interesting new groove while maintaining the feeling and intentions of the original. There might be a few cheesy buildups, but the relatively complex drum work and unique groove change has created what feels like an almost entirely new track with a similar level of accessibility to the original.

Overall, a successful remix. The low air horns are completely unnecessary – to me, this feels like a step in the right direction for Baauer. While bits and pieces of his fundamentally juvenile music still come through, we see his first signs of maturity shine here. Looking forward to future releases.

Original:

The post Disclosure – You & Me (Baauer Remix) appeared first on The Metropolitan Jolt.

Straight out of Bellingham, Washington, newly formed electronic duo Hoodrow Trillson are gaining recognition from partiers, ravers, and musicians alike. Comprised of non-disney channel stars Zach Spiegleman and Cody Smith, Hoodrow Trillson constantly and tastefully avoids EDM norms and standards by infusing alternative samples, and including an extremely wide and unique range of influences into their material. In the last year alone, these rising stars have shared the stage with Sub Antix and Diamond Pistols (members of Datsik‘s label FirePower), Dubstep legends Megalodon and Liquid Stranger, and many more. Recently, they’ve been invading the ears of EDM listeners with things like their remix of Tiesto‘s 2010 single “Work Hard Play Hard“, their remix of Zedd‘s recent release “Clarity“, and club-heating originals like “Bumbaclot” and “Dope Boy“.

Their recently released remix of Imogen Heap‘s classic single Headlock serves as a refreshing reminder of how the wide range in genre-preference from Hoodrow Trillson can be showcased. After beginning with a very low-key, crafty, and emotional introduction, the track develops into a very gripping journey that reels you in as soon as the hard-hitting bass hits. Personally, my favorite part of the song is after the second verse, where Imogen Heap’s lyrics are chopped up beautifully to blend with the bass and all of the other synths surrounding it. I’ll definitely have this remix on repeat for at least the next week, you’d be a fool not to give it a chance!

The two sophomores at Western Washington University in Bellingham have played out music from the likes of Carl Cox to Clams Casino and don’t plan on limiting themselves to one, two, or three genres any time soon. Check out this incredible remix and more on their soundcloud here. You can also download this remix and most of the tracks on their Soundcloud FO FREE. Don’t sleep on Hoodrow, as they’ll be coming out with some BIG news and releases in the near future!

The post Imogen Heap – Headlock (Hoodrow Trillson Remix) appeared first on The Metropolitan Jolt.

Chicago based indie rock trio Smith Westerns have a new record set to come out June 25th entitled Soft Will, and in advance they recently debuted the brightly hued video for first single ‘Varsity’. Smith Westerns first broke onto the indie scene with their decidedly lo-fi self titled debut in 2009 with their ability to bury huge sing-song hooks within the heavy layers of buzz on their recordings. From there they mixed in some glam to their garage rock indebted sound while upping the production value, if only slightly,  for 2010′s Dye It Blonde. If ‘Varsity’ is any indication though, the band may once again be heading in a new direction with Soft Will. While still obviously rooted in guitar pop, the bright strings and Cullen Omori’s reverb-heavy vocals lend themselves much more to new wave than anything on the Nuggets compilation.

The band will be on tour across North America for most of the summer in support of Soft Will, dates can be found here.

The post Smith Westerns – Varsity appeared first on The Metropolitan Jolt.

Kastle is a name that’s been on the tip of everybody’s tongue this year.  With his debut album topping iTunes charts, and his North American tour reaching major cities in the US with only positive feedback, theres no doubt that this new producer is taking the electronic scene by storm.  His combination of deep house, garage and bass music is a style to be coveted for, and his fans know him as one of the most diverse producers to date.  Step aside generic electronic producers (I’m talking to you Avicii), this guy is gonna take the electronic music scene by the bass note, flip it over, until all that’s left is your ears and Kastle’s imagination.

Don’t believe me?  Well lucky for you, if you live in San Francisco you can see Kastle live.  That’s right!  On Thursday, May 16th, peep Kastle live at San Francisco’s esteemed club, The Independent for only $16 with supporting acts xxxy and Clicks & Whistles.  The event is 21+ and doors open at 8:30 so get there quick!  This one is sure to be a blast.

You can buy tix here.

The post Kastle @ The Independent [Show Preview] appeared first on The Metropolitan Jolt.

Metrojolt was lucky enough to quickly chat with Issa Dash and AK, two halves the Beast Coast’s very own, The Underachievers. Seeing as how the group really doesn’t do too many interviews, MJ was truly blessed with some good vibes all around to make this happen. We chopped it up about their plans for the future, favorite strains of Bay Area-medicinal, and their brand of spirituality. Much love to Issa Dash and AK for the interview. Peep game below!

So ya’ll were in Berkeley like two days ago right? (Yeah) Damn, I’m from the Bay Area so I gotta know, what did you think about the trees?

Fire, yo!

Oh you try those cookies?

Of course, God!

(laughter) So what was your favorite strain you tried out there?

Man, probably the ‘Girl Scouts’ or the ‘Exotic OG.’

Good looks, did you guys go to the clubs?

The dispensaries, yea we were outside and our friend went in.

Understood, understood. So I heard you got like a mixtape coming out with mad crazy production. Like all hella Brainfeeder, Fly-Lo beats. When can we expect that?

Soon man. I can’t give you a day. I can secretly give you one that can’t be in this. Like I can tell you when it’s coming out but you can’t release it.

Then I won’t even, we’ll talk about that off record, bruh.

(Laughter)

So spirituality-wise, where are ya’ll at? Cause ya’ll are all over the place. How would you classify your beliefs? I see some Nation of the Gods (and Earths), I see some like–

All the knowledge in the world, just imagine it being split up all over you know what I mean. Now imagine bringing all that together. To put it all in a capsule, I’d say that we just believe in Universal Consciousness, at the bottom-line you know what I mean. Of course we’re pulling from different deities, different sects of religion, you know what I mean. You put it all together and, ‘Bam,’ you get it that way. You see a little Ganesh here and you hear us talk about a little Sun Ra here.

Got some Chakras in there.

Yea, it might get a little confusing, but when you put it all together, everything lines up perfectly, you know what I mean? The Kabballah uses the same tree of life as the fuckin Ancient Kemetics. Everything goes together.

Who put ya’ll on? Like how’d you guys really get into all of that?

We were born– not knowing this stuff, but like it all came together. No one really put us on it.

Damn, and ya’ll were already friends, so you just put it together?

Yea, it’s weird we all became friends. It was like… destiny (laughter) I don’t wanna say that, but…

Yea, I get you on that. My last question: the whole Beast coast, it’s a movement. What can we expect from it altogether though?

Mixtapes. Flatbush Zombies, Pro Era, us… group tapes, separate ones. More tours, more shows.

Yea, how old are ya’ll right now?

(Issa Dash) 21 (AK) 22…

Aight, 21, 22… That’s crazy cause ya’ll have mad age in your sound. Man, I’m juiced to see where ya’ll are going.

Thanks a lot for the support.

Much love ya’ll.

The Underachievers and I chopped it up a little bit more about their show they had just performed, their fantastic debut tape, and our mutual love of old school Talib Kweli who was about to get on stage Thanks a lot Issa Dash and AK for your time, as far as Metrojolt is concerned, UA’s future is bright. Peace goes out to both of you and we can’t wait for the new tape!

(Photo Credit: Hannah La Follette Ryan and TC aka rezones)

The post The Underachievers [Interview] appeared first on The Metropolitan Jolt.

Here’s a release that’s bound to turn some heads.  Hailing from Lisboa, Portugal, Miguel Torga’s A Mariana EP is a tech house gem in hiding.  Featuring two originals and two remixes from the likes of Alex FX and Cleymoore, this project is as intellectually stimulating as it is bouncy and exciting.  The title track ‘A Mariana’ boasts an eclectic rhythm with airy FX pushing it into it’s exciting ambience.  Already, Miguel Torga has become one of the most diversified producers in my opinion, layering an atmospheric thickness on top of an enjoyable groove.  Alex FX takes a darker approach to the track, giving it an eerie aura to go along with it’s pounding kicks and intriguing percussion.  Dark and esoteric, AlexFX’s remix aims to show the darker side of A Mariana, and he does so with precision.  Up next, Cleymoore’s remix is a bit more ambient driven, with some gliding synths soaring over the rapid kicks and snares that keep the atmosphere in place.  If you close your eyes while listening to this version, you might not want to come back from the area of subconsciousness it takes you too.  At 20+ minutes long, the remix jumps from one space to another halfway through with a dip and change in percussion.  Finally, we have the second original off of the EP ‘Problemas Com O Segundo Planeta’ which boasts a disco vibe, while remaining true Miguel’s tech driven sounds.  My favorite off the EP, this track utilizes alluring French female vocal samples along with an aqueos tone that is only accentuated by each new instrument.  Whether that’s illustrious keys and pads or funky new drum lines, ‘Problemas Com O Segundo Planeta’ will have you trapped in it’s groove.

Stream it below, pick up the EP on Beatport, and be on the lookout for more music of this caliber from Freima Labs.

The post Miguel Torga – A Mariana EP appeared first on The Metropolitan Jolt.

Worthy’s most recent EP is comprised of two dancefloor heaters called “Crying Crickets” and “The Joint“. Both provide a preview of the vibes that are being created for Worthy’s upcoming album, which I wish I had right now especially after hearing these two bangers. “The Joint” begins with a very trippy and sporadic intro sequence, then transitions into a very hip-hop influenced breakdown where a very mysterious and upbeat sampled voice repeats the words “Do the joint”. At 1:17, Worthy builds the suspense for an insane climax that hits you square in the forehead. Worthy’s range in talents are not to be under-appreciated, as he continues to amaze us here at Metrojolt with his ridiculous mind-bending sounds. The second track on this EP titled “Crying Crickets” brings your ears back to the Dirtybird home-base, with familiar deep, and assertive basslines producing the energy-filled climax. This EP is serving as a reminder to me that Worthy is indeed very worthy in the music industry, and he’s got the perfect label and following to become even more successful than he already is.

I’ll be on the lookout for all upcoming Worthy and Dirtybird releases, you should be to! Don’t sit back and be ignorant, explore the limitless talents of Dirtybird!!!

The post Worthy – Crying Crickets and Joints EP [EP Review] appeared first on The Metropolitan Jolt.

The Louis Vuitton Don is back at it. After Big Brother (Jay-Z) released ‘Open Letter’ Kanye took to Twitter to proclaim that he and labelmate Pusha-T had something cooking in the kitchen. With West behind the boards and King Push on the vocals, it looked like we were in for a tasty appetizer from Pusha’s highly-anticipated solo debut My Name Is My Name (MNIMN). Take a second to listen to the beat. If you’re having trouble describing your reaction to it, let me employ Mark Jackson, Coach of the Golden State Warriors, “Oh lawdd, Mama there goes that man.” Kanye destroys the production, with intriguing minimalistic production, consisting of some simple sounding beeps, a smooth bass pattern, and a classic drum kit. Pusha T, not to be outdone on his own the track, starts lyrically flexing:

I’m so bossy bitch get off me!

It’s a different jingle when you hear these car keys,

Ya SL’s missing an S nigga,

Ya plane’s missing a chef”

Though I have yet to secure my own set of wings, I can only wince at the last line as Push shames those with air transport, yet lack someone to do a realistic  Brandon McCartney impression (a cook for those not from the 510). Furthermore, unlike his brother’s vehement renunciation of their hazier past, Pusha is back where he started, giving you pure dope, line after line. Now one of the last relevant OG’s in the game with unlimited street cred, few spit that verbal crack better. Pusha’s evisceration of this beat causes one to believe he might still be knee deep in the game as he rhymes:

Hard to get a handle on this double edged sword,

Whether rapping or I’m rapping to a whore

Might reach back and relapse to wrapping up this raw

Unexpectedly, Kanye features a couple words of classic Hov, before Pusha goes back in to seal the package. Pusha’s lyrics bounce around the beat on the track as he exudes the confidence and braggadocio of a veteran with miles on the dash, but plenty of gas in the tank. Simple “Trap Hop” has taken over the mainstream game, yet there is a subtle nuance to Pusha’s sly insinuation, “How can you relate when you never been great?/ And rely on rap money to keep food up on ya plate.” Though the song is less than three minutes long, the track is absolute fire and we eaglerly await Pusha T’s G.O.O.D. Music and Def Jam debut MNIMN due out later this year.

And here goes the video….

The post Pusha-T – Numbers On The Board [Song Review] appeared first on The Metropolitan Jolt.

To those of us who have completely immersed ourselves in the realm of electronic music, a true appreciation for live instrumentation can sometimes come out of nowhere, slap us in the face and remind us that these are the pieces of equipment that made our type of music possible in the first place! So what/who made me come to this realization so recently?   Well the what is the electric guitar and the who…was none other then the almighty Gramatik and a little group by the name of Cherub.

Cherub, an enthusiastic electro groove duo who embody the sounds of soul, funk and love in the most modern of ways took the stage with an MPD (which broke at the beginning of the performance) two guitars and two microphones. The minimal setup was intriguing and the lead singers use of the guitar and the talkbox he had set up through the guitar made me feel like I was at a futuristic Peter Frampton concert (and I mean that as a compliment). Despite the crowds dull enthusiasm at the start of the show and the malfunctions they faced on stage, by the end of their set the duo had grabbed the audiences full attention and appreciation.

Next up was Gramatik. My initial reaction to him taking the stage was how surprising it was that he had someone else up on stage with him. From what I knew of Gramatik’s music, live instrumentation seemed like it had no place within his music. Oh, my, GOD was I wrong. The guitar player was on point the entire time and his endless finger work fit in perfectly between all of Gramatik’s electronic comings and goings. The guitar beautifully lead each song into the next and for me, seeing the guitar player work his magic was possibly the highlight of the evening. Leave it to Gramatik to bring such a live component to such a digitally influenced form of music. Towards the end of the show Gramatik encouraged us all to stop CISPA and reinforced the fact that “THIS SHIT BELONGS TO US”. Word Grammatik, you keep making your crazy amazing music and we’ll be sure to fight the power for you. A great show that should not be missed!

The post Gramatik@ The Royale [Show Review] appeared first on The Metropolitan Jolt.

Anyone in need of further proof that Deerhunter is equal parts theatrical freak show and seminal noise rock titans should look no further than the band’s recent appearance on Late Night with Jimmy Fallon. There was singer Bradford Cox, dressed in drag with what appeared to be a bloody bandage on his fingers walking off stage mid-song as the rest of the band, (and some random guy holding a tape recorder), jammed on the title track to their new album, Monomamia.

Cox appears to be a performer both driven and repulsed by “punk” ideals, and that contradiction is often reflected in his band’s distinctly shambolic sound. Case in point, their new record Monomania. After the runaway indie success of 2010′s Halcyon Digest, this record could’ve been the band’s big, bright crossover pop album. Instead we’re left with the wonderfully distorted mess that is Deerhunter’s actual fifth album. Rife with crudely recorded garage rock ravers and dreamy psychedelic asides, Monomania represents the rough edges of Deerhunter’s sound they mostly jettisoned on Digest. It also sounds an awful lot like Cox’s stubborn refusal of mainstream acclaim. Just look at some of the press they’ve done for it.

Put all that aside though, and whats left is an instantly polarizing collection of songs…and an early contender for album of the year.

Deerhunter lays out Monomania‘s theme in no uncertain terms immediately with ‘Neon Junkyard’. A blown-out country-rocker, replete with a chugging acoustic guitar riff, the track immediately establishes the heavy Americana vibe of the album at large. Now, this is still Deerhunter we’re talking about, so Bruce Springsteen’s America it ain’t. It’s a slightly bleak and at times desolate view, not unlike that of fellow Georgia sons R.E.M. at their mumbliest. The in-the-red production often works to reinforce this point of view.

Monomania also showcases Deerhunter at their absolute raunchiest. On previous releases, the band tended to shy away from big rock star moves in favor of nuanced and textural playing and Cox’s introspective lyricism. This time around though, they fill songs like ‘Leather Jacket II’ and ‘Pensacola’ with huge rock riffs and straightforward tales of jilted lovers. The title track in particular with its piercing distorted guitars and off-kilter rhythms may very well be the band’s ultimate punk statement. Cox’s repeated title chants during the chorus sound as though they’re coming from an old payphone before dissolving into the sound of a dirtbike motor.

Now, that isn’t to say Monomania is entirely free of delicacy. ‘Nitebike’ immediately follows the title track, stripping down to merely a roughly strummed acoustic guitar and Cox’s heavily reverbed falsetto vocals. It’s Deerhunter at their most unguarded. Whereas guitarist Lockett Pundt’s sole contribution ‘The Missing’ recalls none other than his own dreampop side project Lotus Plaza.

All of this brings us back to the idea of Deerhunter as a theatrical production. The play this time around of course being how loose and dirty they could perform. So much for critical praise.

The post Deerhunter- Monomania [Album Review] appeared first on The Metropolitan Jolt.

I owe a lot to Gold Panda, I clearly remember first hearing the euphoric sounds of his Quitters Raga EP years ago and I clearly recall it energizing me in my musical rummagings around the web. After enjoying the EP so thoroughly and having listened to it so many times, I was determined to find more. His sounds, which share artistic borders with the likes of Four Tet, Mount Kimbie, Caribou and Lapalux, lead me into a world of music that for me personally was well…game changing.

Gold Panda has recently teamed up with one of the most brilliant music labels around today, Ghostly International, to bring us Gold Panda’s second official album Half of Where You Live. The album will be released on June 11th and can be purchased from the Ghostly International Website. The albums artwork was created by Andy Gilmore, an artists signed by Ghostly International who’s geometric and soporific art styles create very beautiful pieces of work that fit with Gold Panda’s music perfectly. If you ever decide you need a new trippy desktop background, I suggest you check out his work here.

Gold Panda’s first Single, Brazil, is carried by a busy but minimal percussion line that jumps and swims its way through the track via alternating reverb levels. Complimented by distant bells, harps and flushed synths, the constant repetition of the word “Brazil” reflects the metropolitan influence of Gold Panda’s new album which has been described as a “city album”. I’ve always associated Gold Panda with the city after listening to his track 5th Avenue while walking down the same city street one night in New York City. To say the least, I was taken aback by his ability to make a bustling city seem so peaceful. Be sure to grab your copy of Gold Panda’s album Half of Where You Live at the Ghostly International Store!

Be sure to check out Gold Panda on Facebook and Soundcloud!

The post Brazil – Gold Panda appeared first on The Metropolitan Jolt.

If you’ve been paying attention to our guest mix series, you’d recognize the title of this track as the first track in John Roman’s guest mix.  Posted as #15, this guest mix blew minds out of the water, and since then, it’s been hard not to get that dark sample out of our head.

I can’t trust my mind, trust your body.  Your body never lies

It’s so true; you really can’t trust your mind sometimes.  Your mind is so perplexing, it’s almost impossible to get a straight answer for anything.  Now as if on cue, G-23 has a new remix of the house banger.  G-23′s remix keeps the sample as the iconic piece of the track, while giving the track a forceful edge amidst pounding kicks and snares underneath a clear synth line.  It’s obvious that G-23 knows how to work a melody from the beginning to end, and while there are going to be numerous remixes showing up in this competition it’s hard to not get excited by this version.  Definitely meant for bouncing clubs, be on the lookout for this track in DJ sets all around; I know I’m grabbing it right after the results of this competition.

Be on the lookout for G-23 launching a sub label off of Metrojolt favorites, Gold Nite Records.  Named Black Nite, you can expect the first release soon in August.

The post Tiga & Jori Hulkkonen – Trust Your Body (G – 23 Remix) appeared first on The Metropolitan Jolt.

It’s easy to expect what you’re going to get out of a show that is heavily dubstep influenced. Dubstep isn’t the most innovative and versatile genre, so artist’s ability to amaze in a live performance is quite elusive. This is generally speaking and obviously there are exceptions to the rule. One of them is Kill the Noise.

This past May 1st I saw Kill the Noise for the first time since Paradiso Festival last summer where his set may have been the best of the night. That much I remembered, but for the life of me I couldn’t place a reason why. Luckily, his recent performance at Celebrities Nightclub was a fresh reminder. KTN amazed me once again by sticking to what he does best – making a whole lot of fucking noise.

I know Adam has explained this in previous show reviews, but allow me to reaffirm that Celebrities as a venue, notably due to its Funktion-One speakers, is absolutely insane. A speaker system of that quality, and with such immense power that it shakes your soul, is any DnB or dubstep artist’s wet dream. Jake Stanczak (KTN) took full of advantage of that, and nothing could have better complimented his sound.

Brillz was on first. Admittedly, I knew nothing more about him than his name going in, but his set was a crazy prelude and was everything bass. Trap seemed to play a big role as well. Kill the Noise followed with rolling thunder and threw down some of the hardest dubstep, DnB, electro, trap and death metal heaters I have heard in months. There was hardly a moment to catch your breath when every cut numbed your brain. Dubby throwbacks were in style that night, with cuts from Flux Pavilion, Knife Party and Dillon Francis, including crowd favorite ‘Dill the Noise’. He also mixed in newer tracks of his own, such as ‘Rockers’ and of course, ‘Thumbs Up (For Rock N’ Roll)’, which includes everyone’s favorite inspirational Youtube sample. You didn’t have to look at the molly-crazed eyes of those in attendance to know this guy was tearing the place from the inside out.

One of the ways Kill the Noise seems to murder every set is by taking advantage of music as a science. Colossally high volumes of sound – that is, with musical sounds you actually enjoy – are sedative, and it is no wonder that during a KTN show that one experiences moments of feeling high on the music. Jake is a solid DJ, combining skilled mixing with decent track selection, allowing him to be as ferocious as he wants while still generating responses of satisfaction from the crowd. People like his set because they want one very simple thing that Kill the Noise knows how to provide, and he will always provide it since it is very much his style. Everyone wins at a KTN concert.

East coast Canadians watch out as Kill the Noise comes your way this week. In the meantime, a big thanks to our hosts of the night, Blueprint Events. KTN and Brillz were part of their FVDED Wednesdays event, so be sure to catch the next one!

The post Kill the Noise w/ Brillz @ Celebrities Nightclub appeared first on The Metropolitan Jolt.

While we all enjoyed the brief taste of sunlight we received from Nick Monaco and Navid Izadi’s Guest Mix #20, let’s not forget that this blog and its readers exist for the night time.  Metrojolt has enlisted Rolf Mulder, label head of The Public Stand to lead us back to the darkness with Guest Mix #21.

Rolf Mulder is the man at the helm of the dark and mysterious The Public Stand, an upcoming Rotterdam based techno label.  Within the short 2 years since their inception they’ve put out releases featuring some of the most exciting names in techno like Dave Clarke, Niereich, Black Asteroid and Mr. Jones.  Their newest release from Mr. Jones came out this past Monday.  The Apogeum EP is just another example of the quality dark techno, which The Public Stand is making a name for themselves releasing.

Rolf Mulder’s guest mix contains some of the best offerings from The Public Stand.  In places, the mix is stark and brutal.  In others it’s warm and inviting.  In an hour and 40 minutes Rolf Mulder’s mix shows off the spectrum of feeling which techno is capable of.  With tracks from The Public Stand spread throughout, the mix is also a show of his label’s maturity.  The energy doesn’t take a break until Rolf gracefully closes the set with Simplicity is Beauty’s “Operator’s Manual” off The Public Stand.  Check out the mix below and find the full tracklisting on SoundCloud.

SoundCloud | The Public Stand | Beatport

The post Rolf Mulder of The Public Stand [Label Showcase & Guest Mix #21] appeared first on The Metropolitan Jolt.

Ever since Toronto-bred Rich Kidd dropped his latest mixtape, In My Opinion, a few weeks ago, my suitemates and I have been bumping it non-stop. A total of 18 out of 19 of the tracks are produced by the Kidd himself, and from samples to original beats, the quality remains consistent throughout. Kidd is a fiend for heavy bass (definitely hook up some headphones or speakers for this tape), and hard-knocking tracks like ‘The Valley’ and ‘Early’ are sure to rattle any trunk. He’s easily one of my favorite producers on the mic and this tape has only further cements my belief. From the heartfelt ‘I’d Be Lying’ to the hater anthem ‘In My Opinion,’ as always, his lyricism is real and on point.

With collaborations from big names, such as Drake, Talib Kweli, Busta Rhymes, Raekwan, and Redman under his belt, Rich Kidd is now looking to carve his own path lone wolf style. As a lyricist, he’s good but not great, however, his gritty voice and rhythmic flow definitely work in his favor.

The first three tracks, ‘Uncle Tarzan,’ ‘Can I Get A (Bom Bom),’ and ‘Fallout,’ are probably the most impressive of the tape and can arguably go toe-to-toe with any other project released so far this year. The tape is introduced with ‘Uncle Tarzan,’ and samples a voicemail message left by his proud Uncle Tarzan, who praises his opinionated personality and reminds Kidd to never lose his Ghanaian roots. Following that is the catchy ‘Can I Get A (Bom Bom)’ and the electrifying slap, ‘Fallout.’ Kidd comes hard out of the gates with these and in doing so, demonstrates his versatility and multidimensional range as an artist.

Uncle Tarzan [prod. Rich Kidd]

 Can I Get A [Bom Bom] [prod. Rich Kidd]

Fallout (feat. Gudini) [prod. Rich Kidd]

It’s always interesting to listen to cats like K.R.I.T. and Cole who produce their own songs because you truly get a taste for their musical identity. They’re not getting emailed beats that some producer had lying around, they’re creating their own, which I think is even more impressive. They’re the Bo Jacksons of rap; they can do it all. Having both skills in their repertoire asserts them more freedom to create and articulate the precise sound they’re aiming for that, when done properly, can make for some pretty incredible music.

Other notable tracks include ‘Flow Spitters,’ ‘Brick,’ ‘Getting Old,’ ‘Loner In A Crew,’ and ‘Early.’

There’s not much else to say about Rich Kidd, so I’ll stop here and let the music tell the rest of the story. Don’t sleep on the speakers!

My main thing is
Progression,
Succession,
Spiritual elevation
Spittin all these flows is my therapy meditation
Send a reform in rap back like immigration
They should pass a bill
Niggas trash for real

The post Rich Kidd – In My Opinion [Mixtape Review] appeared first on The Metropolitan Jolt.

Over the years, the way music has been consumed has changed drastically.  From LPs on vinyl disks and radio, to the war between different tv packages like HBO and DirectTV offering outlets for watching singles and music videos, we’ve come a long way from the times of cassette tapes.  Now, we can consume our musical tastes at the push of a button.  Think about it; everything from internet radio outlets like Spotify and Pandora, music providers like iTunes and Beatport, and the rise of the MP3 as the common format for music files has helped to modify our consumption of music to work within the digital age of technology.  Some people even call us the Youtube generation, just to put a name on the digital shift.

I’ve asked you to think about how far we’ve come because it’s a necessity to look back in order to see forward.  What is possible in this newfound digital age of technology and how might we go about capitalizing on it’s benefits?  How did certain labels find their success in the past, and what led them to stay relevant in current times?  Luckily, all of the introspective thinking doesn’t have to be done alone.  In fact, critically acclaimed NYC Indie label DFA did some of their own in order to look forward, and Red Bull Music Academy wants to share their findings with you.

12 is an important year in the life of a human being.  It’s the very end of you’re childhood; it’s the beginning of your adolescence  and theres something to be said for that.  - YACHT

With their record label turning 12 years old in 2013, DFA took some time to look back on what made their label so successful in the early 2000s.  The task of changing indie rock into groovy indie dance can be traced back to their releases, from the iconic beginning of the supergroup LCD Soundsystem, to the grooviness of releases by YACHT.  Garnering over 30+ album releases, 141 12″ singles, and six compilations, DFA has aptly remained at the forefront of indie dance music and has brought to the table other recognizable acts like The Rapture, Holy Ghost!, Sh*t Robot, and Planningtorock just to name a few.  But yet, DFA recognizes their position on the indie music timeline.  Their coined phrase and video’s title, “Too Old To Be New, Too New To Be Classic” strikes the members of DFA to the core.  It describes their music perfectly as something completely original and unknown, but just familiar enough for the mass of indie rock fans looking for a reminder of what brought them to the genre in the first place.

Take a look at DFA’s short film, Too Old To Be New, Too New To Be Classic below.  You’ll find interviews with the founders of the label like James Murphy and Jonathan Galkin, along with candid appearances of members of LCD Soundsystem, Holy Ghost!, YACHT, The Rapture, and many more.  Boasting humorous interviews and archived footage, you won’t want to miss out on hearing the story of a label who may have just changed a genre forever.

Don’t forget to check out the songs in this video on Spotify! 

The post Too Old To Be New, Too New To Be Classic – DFA Short Film [Red Bull Music Academy] appeared first on The Metropolitan Jolt.

Leave it up to Animal Collective to rack up one of the most interesting groups of musicians to be featured on their new remix EP Monkey Been to Burn Town set to release on May 28th. The remix album featurres remixes by juke producer Traxman, New York’s loopy electro duo Teengirl Fantasy, Seattle based hip-hop collective Shabazz Palaces and last but certainly not least the wacked out but incredibly talented Gang Gang Dance.

Gang Gang Dance has been around since 2001 and after a long journey through different musical atmospheres and ideas, the band finally started to receive the credit they so readily deserve after the release of their album “Eye Contact” was chosen as one of the top albums of the year by The Guardian, New York Magazine and Pitchfork.

This whole entire downtown New York experimental music vibe that groups like Gang Gang Dance and Animal Collective embrace and expand upon is constantly reshaping itself in the best ways possible. Truly unique in every sense of the word, Gang Gang Dance has an aesthetic all their own that when combined with the gargantuan talent of the Animal Collective um…collective, you really come out with a track with some serious experimental overflow.

The post Monkey Riches- Animal Collective (Gang Gang Dance Remix) appeared first on The Metropolitan Jolt.

Techno classics are hard to come by nowadays.  With such a multitude of musicians trying to sound like the last, the drive to be different has rested on the backburner of the newest electronic generation.  That doesn’t mean that modern musicians aren’t trying; it’s just a harder feat than before.  You not only have to stand out from your initial audience, but also the growing online community where almost nothing is original.  Yet, there are still those classics that remain a ‘classic’, an icon, an emblem to the music we know and love today.

One of these classis is Golden Girls’ track ‘Kinetic’, released in 1992 in Belgium.  The track saw widespread fame and the riff became engrained in every fan’s mind as the heart of techno and house music.

Come on and get you some more

That phrase was just about inseparable from techno as roland drum machines were, and to this day it’s remained a quintessential model of feel good techno music.  Remixes upon remixes have been released over the years to keep it’s legacy alive.  Today, we bring you a whole new remix pack that brings Kinetic to life once again.  The package contains remixes from Kraak & Smaak, Jeremy Orlander and Grant Nalder & Adam Asenjo which all stay true to the atmosphere created by Golden Girls in the 90s.  From Jeremy Olander’s big room house rendition to Kraak & Smaak’s garage infused version, this package will have you reliving the 90′s all over again.  While Kraak & Smaak take the cake for my favorite on the package, we can’t forget Grant Nalder & Adam Asenjo’s bouncy tech house remix that will keep you jumping for more.  The package will be released by Floorplay Music on May 20th, but for now you can stream both remixes from Kraak & Smaak and Jeremy Orlander below.

The post Golden Girls – Kinetic (Remix Package) appeared first on The Metropolitan Jolt.

Before I start this review, I want to apologize to the readers for being a week late. I wanted to fully digest Acid Rap and detach it from all the hype surrounding in order to formulate my own unique opinion on the project. Now that we got that out of the way, lets get into the review.

It seems like the Windy City has a knack for creating talented rappers with a high level of musicality. The storied lineage, including the likes of Kanye, Twista, has now birthed a new prodigy, the talented SaveMoney representative Chance the Rapper. With his intensely personal lyrics and stream of consciousness flow, the highly anticipated sophomore mixtape Acid Rap is an absolute must listen for any hip-hop fan.

The instant you start the tape, it is clear that you are in for a good ride. Few artists in the iTunes-single era understand the importance of a strong intro, one that prepares the listener for the project they are about to delve into. Chance however is one of those artists and leads his project off with ‘Good Ass Intro’, a smooth cut that establishes Chance’s mindset throughout the whole project. He flips a jazzy beat, co-produced by SaveMoney mainstay Peter Cottontale, Cam of the renowned J.U.S.T.I.C.E. League and the underground artist Stefan Ponce, into a complex ode to the craziness of blowing up off of music:

“Better bet I’d take that deal, gotta watch out for my mother

Get a watch with all that glitters, come in clutters, different colors

Ben A Baller, Benford, Butler’s, Chauffeur’s, hit a stain-er, did I stutter?

Did a ton of drugs and did better than all my Alma mater “

Chance’s vivid stream of consciousness delivery and off the wall metaphors, reminiscent of a mixtape Weezy, make every track enjoyable. He also has an innate ability to illustrate any theme with ease. Take a listen to Coco Butter Kisses, a nostalgic look into his upbringing (shouts to Vic Mensa & Twista on the feature):

“Used to like orange cassette tapes with Timmy, Tommy, and Chuckie

And Chuck E. Cheese’s pizzas, Jesus pieces, sing Jesus love me

Put Visine inside my eyes so my grandma would fucking hug me

Oh generation above me, I know you still remember me

My afro look just like daddy’s, y’all taught me how to go hunting (BLAM!)”

It’s hard for me to explain how dope to hear Chance casually dropping Rugrats references in their bars. One of his biggest successes was making lucid imagery of acid extremely relatable for to his listeners. It takes a cerebral lyricist to craft accessible rhymes, and that is also a huge part of creating a strong loyal fan base. Couple this skill with Chance’s ability to hold tune and sing a hook as well as his ear for beats and you get a dope tape.

Quick note about the beats here; they’re fire. Chance hit up the right people both within Chicago, peep the tracks Nate Fox, Blended Babies and DJ O-Zone, along with a solid mix of “underground” and mainstream artists, like Seattle’s own Jake One and Ceej of two9, to create a project that flows smoothly front to back.

I have one gripe about this project, although small and almost inconsequential, I will state it: Chance overuses the “na-na-na-na” adlib. That shit is on pretty much every track and it would have been nice to have some variety.

That being said, Acid Rap is a filthy project that really shows off Chance’s skills as an artist: his unique flow and lyricism, good sense of melodies and his relatively humble persona. With each track he makes it clear that he is one talented artist with a ton of potential. I would absolutely download this tape (linked below), few top caliber projects are released each year and this is one.

If you are interested in copping more from Chance the Rapper, check our review of ‘Smoke Again’ and cop the dope debut tape 10 Day. Also take a look at the work his SaveMoney homies are doing, be it Tree, Vic (peep the interview here) or Kids These Days.

PS: If you were interested in the creation of the hidden track on ‘Pusha Man’, you can watch the collaboration between Nosaj Thing and Chance below. Shouts out to the homies at YoursTru.ly

Nosaj Thing x Chance the Rapper “Songs From Scratch” from Yours Truly on Vimeo.

The post Chance the Rapper – Acid Rap [Review] appeared first on The Metropolitan Jolt.