Amaka Queenette - Tomboy Records Muse

Hey Amaka Queenette first things first I wanted to thank you for agreeing to interview with Nefarious Supply. Just to get started, introduce yourself to the audience who is Amaka Queenette, and what events led up to you taking up a career as a musician? 

I just always gravitated towards music. I was born in Nigeria and most of my memories there involve music; early morning worship, church, school events. My parents would always play music on a Sunday morning as we got ready for church as well. Music has just always been there. And it's never felt like a choice, just like why wouldn't I continue to want it around? Addition though, as I work to make music a career, I am also in nursing school as well. Was on a year off from school this past year to finish off a few music projects though. I'm trying to have it all; best of both lives.

Being currently based in Pickering, Ontario how would you say this area has had an influence on you as well as your music?

As much as I know I want to see the world, my safe little suburban slice of Pickering is such a home to me. My house is surrounded by a stream, a park and a forest so I always have places to hide when I need to. I think because I can be considered "comfortable" where I am, it gives me mental space and capacity to dive deeper into the intricacies of my experiences and how they affect my emotional and mental well-being. Being where I am has surrounded me with some amazing East end talent without feeling too suffocated- which I do tend to feel when in Toronto. I love the idea of having to hop on a GO train to get downtown. It makes the city such a novelty. More romantic and wistful that way.

What artists would you say have had the biggest influence on you, and how have they done so? 

Musically I don't know that I have too many influences. But I do try to chase the feeling an artist gives me. Kanye's confidence and way-paving, makes me want to be braver. Erykah's uniqueness and claiming "I may not be ____ but I'm clever" really resonated with me. I think I'm so clever and like she taught me it's okay to think that about yourself. Frank Ocean of course makes me want to make music people can cry to as they think about their first experiences with love or any unrequited loves.

Tell us about Tomboy Records and how did you end up getting signed to them as an artist? 

So I met Cassandra, my current manager and one of the founders of Tomboy Records when she DM'ed me at the end of 2018. Cass had seen one of my covers and apparently really liked it and thought my voice was unique. We also had a mutual friend who kind of helped make that connection. Then we started talking and I mentioned a concert I wanted to curate in August 2019. They really had my back every step of that process. They helped make it possible and we've been together since! 

Since you’ve started your career what are some important lessons you have learned, and what is some advice you would give to new artists? 

I still 100% consider myself a new artist. But what I've learned is that there will always be people who think like you. The doubt will come, second guessing your ideas will happen. But trusting your instincts is a must or you'll just find yourself floating. Or find yourself performing songs live that you don't even like or really believe in. Another thing I learned is that a team is important. It's not everything and we as humans can accomplish so much alone, especially when we have to. But I say, if you have the option of working with people you like and trust with your ideas, please do. It makes the process much sweeter and this way, you have someone to panic to at 3am the day before a release.

So let’s talk about your newest EP “Fleeting Inconsequential”, what inspired it?

Those 2 words in sequence came from the movie 'The Age of Adaline'. I love movies so much, and movies that are sentimental about the passing of time always get me. Time moving and us not being able to do anything about it is such a scary concept for me, but it's one that I force myself to sink into and fully feel because that's the reality of things and avoiding it would be unwise. 'Fleeting, Inconsequential' is a body of work that addresses loves and lives past. The title was inspired by that movie, but the concepts in it are ones that take up my mind a lot. The project is inspired by fear of the ever-changing and the seeming insignificance of a single human life.

Walk us through each of their songs and their meaning to you? 

'Suffocate' is about a love that doesn't exist on both sides anymore. It's strictly single sided now. It's about giving everything to a relationship and still ending up empty and without. It's not my exact personal experience because I've never been able to give 100% into any romantic relationship I've been in, there's a lot of fear there for me. So I guess I reached out to those around me who had fallen in love so completely and I lived vicariously through them. I collected and compiled their stories, I channeled the feeling I got when I thought about being completely in love and the output was 'Suffocate'. The song feels a little frantic and unsettling sometimes and there are random time signature changes here and there. All of this kinda reflects that discomfort I feel thinking about love and how it can come and go so fast, hence 'fleeting'.

'Ceilings' is then again about this idea of time moving faster than I'm ready for. I get tired thinking about all the things I've done and all that I still plan to do. And sometimes I just want to either live fully, taking in every beautiful moment. And other times I just want to sleep and pass my time alone. The line "it's a fine night to feel infinite but we're infinitely finite" really summarizes 'Ceilings'. It basically translates into: in this moment right now, I feel infinite (a paraphrased line from the movie 'Perks of Being a Wallflower'), life is beautiful, existence in itself is beautiful and is such a privilege, but I also can't shake the feeling that every moment is just a blip in the grand scheme of my life. Hence, 'inconsequential'.

So on the production end what producers as well as engineers did you work with for EP?

Executive Producer is Joshua Stanberry. That boy is such a rockstar. He produces everything I release. Sitting with me or over the phone, everything I do has him written all over it.  I also had a role in the production of those 2 songs as well. Although the term "producer" to me feels so broad. I never know all the title entails, but I played roles here and there in the composition. The mix engineer is the master, Adam Pondang. He is incredible; so patient with all my notes and so attentive to detail. He treats all my songs with respect. He mixes and produces for LOONY, and he's mixed everything I've released. Other credits on this EP are Justice Der on guitar, Stephen Bennett on drums, and Joshua Stanberry on bass (they are all music students at Humber college).

So what’s next for you, what are some goals you want to achieve by the end of the year?

 So by the end of this year, I'd love to release one or two more singles. I definitely have stuff in the works and bigger projects in the far future, but for now a single or two here and there. The pandemic has set some things behind and definitely messed with my motivation levels, but I am still working and chipping away at projects. So a few singles should emerge by year's end. Then in September, I'm off to nursing school again! I actually wrote my entire first EP while in first year UNI so I always make time for music while I'm there. 

Any last words?

Nothing too exciting, just thank-you for caring about my music and what I'm up to. Appreciate your time and you amazing questions. I love music with my whole heart; it's the thing that cuts through the apathy and reminds me of the parts of myself I'm sometimes afraid to address in my day to day life. So I'm grateful to get to talk about it with you guys.

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Amaka Queenette

Big shout out to Amaka Queenette for coming on and interviewing with Nefarious Supply. If you enjoyed this interview and want to stay up to date with her you can follow her on Instagram and be sure to check out her newest EP “Fleeting Inconsequential” available on all streaming platforms now!

If you want to stay up to date with news and content coming from Nefarious Supply you can find us on Instagram, and  Twitter. We also recently opened the Nefarious Supply shop so if you want to support you can show some love  here!

Celebrating Juneteenth

Like every country, globally, the United States has a culture that is deeply rooted in the history of important events or people that have left their mark and influenced the country to make it what it is today, whether socially or economically. To remember these important events and figures of the country, certain days are marked as special and made as national holidays for the rest to pay our respects to past events or figures. Some important public holidays in American culture include; Independence Day, celebrated annually on July 4th, and Memorial Day, celebrated on the last Monday of May, and is revered as a national day of remembrance for the lives lost in the Civil War. There’s also Labor Day, which was started in 1886 and focuses on celebrating the achievements of the working people within the United States. Veterans Day, observed November 11, and is a day to honor the veterans and soldiers in the United States Armed Forces and many more. These are very important to American history, and there is no doubt that the celebrations held during days are for remembering events or people that have influenced the type of country that America has become. But a day that unfortunately is just now getting the national attention it deserves, is Juneteenth, and with the current movement centered around Black struggles within the United States, Juneteenth should be federal. 

Juneteenth (Which is a combination of June and nineteenth) also known as Freedom Day, Jubilee Day, Liberation Day, as well as Emancipation Day, is a holiday within the African American community that celebrates the liberation of slaves in the United States. With roots in Texas, the holiday is especially commemorating Union Army General Gordon Granger, who announced the Federal orders in Galveston Texas on June 19. 1865 saying "all people held as slaves in Texas were free". 

The first celebrations of the holiday started in 1866, but soon spread across the Southern African American Community and started to gain some traction in the late 1920s and into the 1930s, often centering around food. Although the celebration of the Holiday lost its traction during the Civil Rights Movement of the 1960s, by the mid-1970's, the holiday once again became an important celebration of the era fueled by the focus on African American freedom and arts. As of now in the 21st century, Juneteenth is celebrated across most states in the country with some recognizing the Holiday as paid day of rest and others who do not acknowledge it all which includes; Hawaii, North Dakota, and South Dakota. 

Juneteenth should be made a federal holiday because it will allow America to finally come to terms with its less than ideal history, as well as its treatment of black people within its borders. While the actual date of Juneteenth does not coincide with the actual abolishment of slavery in the United States (December 6, 1865), the meaning behind the holiday is what is important. At one point in time slavery was very important to the economic structure of the United States, especially in the southern region of the country. During the peak of the slave trade within the country and even up until it ended the Africans that were brought over were not viewed as people, rather cattle and property that could have been treated in any way. This view of Africans within the United States is what had a direct effect on how African Americans have been treated in this country, as well as the systematic racism faced every day. 

As the late writer, James Balwldin, once said; "Not everything that is faced can be changed, but nothing can be changed until it is faced", and facing its less than ideal past is something the United States needs to formally come out and acknowledge, because without coming to terms about the past the country is unable to move forward and tackle today’s issues. While Juneteenth is primarily celebrated within the African American community, the holiday should be celebrated nationally, because it acknowledges the less than ideal start that people of African descent have had to deal with within this country, as well as celebrating the many achievements and contributions black people have given its society. Ranging from music, technology, medicine, and social change, the black community has always been given less, and yet always come through with more, and this understanding should formally be recognized and celebrated, not only within the African American Community, but the entirety of the United States as well. The US has a massive population of people who have different backgrounds and cultures. A large share of that population is of African descent and direct descendants of the individuals who fought hard for quality during the Civil Rights Movement. By making Juneteenth a federal holiday, it allows us, as a whole, to take a step back and focus on how our history has got us to where we are right now and what steps can we take to ensure we are never at this point again.

ISOLATION STATION EP 3 - Highly Melanated

#JusticeforBreonnaTaylor #JusticeforOluwatoyinSalau #JusticeforNakiaCrawford

In this segment we’re giving life to the leagues of music being dropped every week during this trying, yet, interestingly enough, personal time. We at Nefarious Supply want you guys to always have a new underground project or creator, either on your mind, on your playlist, or on your feed in some way, shape, or form. In this instance, we’re doing this on an episodic basis and deciding to write on all the new music coming in through this station, five tracks at a time.

Our third episode is going to be a little different today. Instead of giving you just a list of underground artist you should probably be listening to right now. We’re also going to include a message that has been sung time and time again, and needs yet another chorus. Black lives matter, and that fact has rang true louder now more than ever. George Floyd, an innocent member of American society was murdered on video, by Minneapolis PD officer, Derek Chauvin.

Though he has been taken into custody and charged with third-degree murder, we at Nefarious Supply believe that is not enough, that can’t be enough. Derek Chauvin murdered that man intentionally and needs to be prosecuted to the highest extent of the law, and furthermore, it is about time our country wakes up to the realization that the black community has suffered for years, decades, centuries… and they have had it.

And frankly, so have we.

Below we have listed a collection of tracks that portray the thoughts, emotions, and endless creativity that black creatives exude. From street thumping city anthems, to grungy lyrical alley-oops about the hustle for success, to letting everyone know exactly who in the world you are and where you come from, people all over are rising to support our black community and end racial injustice, and these creatives are but a simple portrayal of the beauty that people of color can create when they come together.

Take a look! 😈

AG CLUB - MEMPHIS

AG Club (Avant-Garde Club) is the newest group of rappers to hop on the scene, from the East Bay Area. The rap collective consists of Jody Fontaine, the group’s concept creator, and main songwriter, Louie, the main producer for the group, Baby Boy, who takes the helm for the group’s music videos, Manny the main video editor, and Mick Jenkins, the group’s guitarist. Memphis is their breakout track from their latest album Halfway Off the Porch that released in early 2020. Memphis is a banger inside and out and shows each members’ lyrical and vocal strengths coming together for an outstanding track on their freshmen tape.

IDK - 495 (ft. Big Flock, Big Jam, Rico Nasty, Weensey & YungManny)

495 is a collaboration between various DMV artists. IDK slides on the Juicy J produced beat, starting out the gate shouting out late rappers such as Nipsey Hussle, XXXTentacion, and Pop Smoke, before rapping on topics of fake thugs, incarceration, and moving weight. He then melds into an infectious bridge that leads into the Big Jam and Big Flock helmed and energy-injected chorus.

YungManny arrives on the track with a heated verse charged with the fierce protective spirit for his brothers and is followed by a beautiful finisher, after a lofty production switch, from Rico Nasty. The bridge rides out as IDK repeats these lines four times:

“How the hell they want me to love when they taught me to hate?”

Kafayé - Lady of the Night (ft. M1RZA)

A groovy addition to the showcase of ingenuity, Kafayé teams up with M1RZA on Lady of the Night. The deep and dusky production rises only to match the angelic voices of the singers and accentuates the lyricism and musical themes they’re creatively webbing through the track. However, for the most part, it stays within the depths of heavy 808s and sullen beat progression.

Towards the end of the track, the production swells greatly and adds more components, taking the listener on a magical ride through to the end of the two minutes and twenty-two seconds. You can check out the track above courtesy of our friends at Co-Sign Radio!

Meech - Lost Innocence

Featuring fellow member Luke Bar$, Van Buren heavyweight, Meech speaks nothing but facts on Lost Innocence, repping his crew and daring anyone to test them. He speaks on weak individuals shying away from conflict, haters, and having to grind his entire life to get to where he is now. Luke speaks on his many female connections, washed rappers, breaking chains, changing the game, and how Van Buren is up next no matter what anyone else says.

Unfortunately, there is no video out yet or the artists’ track. However, the trailer for Meech’s new EP I’ll Be Back Soon, I Promise, utilizes the production in the track. There you can check out more about the black collective, Van Buren Records.

Yaddiya - Big Moechella

Big Moechella is driven a dark and mysterious production and helms the title DMV rapper, Yaddiya’s city-wide go-go concert, Moechella, as well as what is known as the Million Moe March. Yaddiya is actually the head of Long Live GoGo, the ones in charge of these events and Yaddiya makes this known on the chorus, stating:

“My home hit me, say they call me Big Moechella!”

Big Moechella portrays Yaddiya’s confidence and pride, not only as an artist, but as the leader of a movement that has rocked the DC-Maryland-Virginia area since the times of the prolific #DontMuteDC protests on 14th & U

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If you enjoyed this week’s episode of isolation station be sure to give the artists featured this week a follow and checkout the rest of their discography!

If you want to stay up to date with news and content coming from Nefarious Supply you can find us on Instagram, and Twitter. We also recently opened the Nefarious Supply shop so if you want to support you can show some love here!

Cosmic - Boca Raton’s Powerhouse

Cosmic what’s up bro, first things first thank you for coming on and interviewing with Nefarious Supply! So just to get the interview started, just introduce yourself to Who Cosmic beats what got you into music production?

Hello, just wanted to start off by thanking you for even having me in this interview. So my birth name is Eric Matheus and I was born in Boca Raton, Florida on May 26th 2000. I go by the alias “COSMIC” but Im also known as “cosmicbeats” or “prodbycosmic.” I grew up really with no musical background other than the love I had for listening to music but I always had this urge to play the drums when I was little. My mom wasn’t really a fan of the loudness it would cause in the house so that wasn’t really an option for me at the time.

So what really started my passion for music is when my older brother introduced me to EDM, Dubstep and House music as a young teen. I also listened to a bit of Hip/hop and Rap as well but the funny thing is I wasn’t a big fan of it at the time I don’t even know why (which is way different now, Rap/ Hip Hop is definitely my favorite genre to listen to). Like just the idea of having words over a beat or whatever sounded funny to me, yes I know that may sound weird haha. For instance if it was rap or hip hop music I was listening to at the time I would always just focus more so on the beat rather than the lyrics because that's what grabbed my attention more. During the time span of 2014-2015 I found myself constantly on Soundcloud discovering new music for me to listen to. This is where I discovered Trap music for the first time and as soon as I heard “Ball So Hard” by Hucci and Stooki Sound I was hooked. After hearing this track I soon wanted to discover more so I decided to make playlists on my Soundcloud, gathering all of my favorite tracks and producers which were literally just beat instrumentals of this "new sound." These playlists would include noble producers such as Hucci, Stooki Sound, Mr. Carmack, SLIGHT, Loud Lord, TNGHT, Gameface, Troyboi, Flosstradumus, RL Grime, Lunice, and many more. To my surprise, these playlists I was making started to gain a following because of how much music it had.

This is when I started to realize that it was about time to try and make the music I kept on hearing myself. It all started when I was in a library one day, supposed to be studying for my upcoming exam freshman year in High School, I came across a Fl Studio ad that stood out to me. It almost looked like a video game to me. I then downloaded the demo as an attempt to learn how to use it. Starting off because of the lack of tutorials there were at the time, I found myself trying to teach it on my own, multiple times which often led to frustration. At one point I even gave up on the program for a couple of weeks. However, I refused to completely give up on the software and started to just experiment and have fun with it. After literally countless hours of dedicating my time to learn Fl Studio 12, I started to get the hang of the software and this is where I would start composing my very first beats. Without any musical background aside from my diverse music taste and ear for music I had, I remember I would have to leave the computer on overnight just so I can go back to working on it later because of the demo limiting your ability to save. This motivated me to get my hands on the full version which really helped inspire me to start posting on Soundcloud and this is how I started, under the alias "Ematheus23." From then on there I changed my name to "COSMIC" after coming across the word online which really stuck out to me. Meaning “out of this world” I started to incorporate that idea into my tracks. At the time I had aspirations to not only become a music producer but also a DJ and build my own brand, so the rest is history.

Where are you from, how has this area influenced your sound and how is the area for connecting with artists to work with?

I know that first answer was hella long my bad for that haha so I’m gonna try and keep the rest of this interview straight to the point. As mentioned before I'm from South Florida, Boca Raton to be exact and honestly I didn’t really start working with artists till 2017. Plus most of my placements as of now have happened online not in person, but I still think it’s a lot better to work with an artist in person than over the internet. Also I wasn’t making any rap or hip hop beats to begin with, I was making the type of beats you can listen to for working out or putting them in gaming montages, beats like those without any lyrics. However I did at one point start to take acapellas of already poppin’ songs and start to put them over one of my beats and the outcome of that turned out pretty well. People really liked when I started doing those flips so I kept that in mind for the future projects I had in store. As far as South Florida when it comes to the music scene and all that I mean there's been definitely some noble rappers who've come out of here successful such as XXXTentacion (R.I.P), Kodak Black, Smokepurpp, Lil Pump, Ski Mask The Slump God, Denzel Curry, and many more. Now though since I'm more familiar with the music industry and all that I'm definitely open with working with any artist down in the South Florida area as long as I like their music and see potential in them.      

How long have you been a producer, and what are some of the things you have learned since you’ve started?

I’ve been producing for 5 years now and I've learned A LOT. I put a lot in all caps because I want to emphasize that I'm definitely not the same producer I was 5 years ago or even a year ago. I always feel like I'm getting better whenever I open up Fl Studio and definitely always learning from tutorials/ interviews and word of mouth. Like I've worked with many producers and artists over the internet and even in person so the amount of knowledge that I get from working with these people, I wouldn't trade it for anything. I'm the type of person that's open to learning and teaching, no matter how experienced I think I may be because at the end of the day I'm here to better improve myself as a person and as a producer.

Definitely a major gem that I’ve learned since I started, and I can’t stress this enough is that simplicity is key, especially when it comes to working with artists. Like less is more and it definitely depends on the artist, how much you will include in the beat. I learned this when I was working with platinum producer Danny Wolf, he was one of the first to ever reach out to me from the music industry. He would constantly remind me of this because I wasn’t used to working with artists at the time so I would always go all out with the beats and not leave much room for the artist. The beats weren’t bad or anything, they just had too much going on for vocalists. I learned that when the artist and beat complement each other that's how hits are made. I also learned if you want to stand out as a producer, stay in your own lane, develop your own style because you’ll eventually be noticed by others for your uniqueness.   

If you could go back in time and give yourself some advice from when you started to now, what would you tell yourself?

Definitely something I would tell my early self knowing how important and crucial it is now is to network in person. Like I was always good at networking online and all that but I would rarely network in person and that really opens up doors for new opportunities and relationships that can better help you advance in the music industry and just make you a better producer/ person. Now I'm definitely focusing on the networking part in person because I know how much of an impact it can have on me and my brand. 

What artists and producers have had the biggest impact on you and your production style?

I’m always being inspired by many artists/ producers everyday because there's so many emerging ones but if I were to narrow them down and list them off I would say for the producers it would have to be: Wondagurl, Eestbound, Pi'erre Bourne (also an artist), Mike Dean, CashMoney AP, Jetsonmade, Honorable C-Note and SLIGHT.

For artists I would have to say Travis Scott, Playboi Carti, Young Nudy, Lil Yachty, Lil Keed, Lil Gotit, Lil Uzi, Juice Wrld, Drake, Tory Lanez, Future, Trippie Red, Young Thug, Apollo1027, JusLo, and 561Renzo. 

So you caught our attention because of your work with Apollo1027 but after checking out your soundcloud and your website it seems like you have established a separate brand for yourself. So tell us how you navigate the music industry as a producer and what are some things based on your experience that up and coming producers should know about?

As of now my goals are to stay independent as a producer and develop artists or even producers that I see have potential in them which I think is really the move over the whole chasing placements idea. However, obviously if you have the connection to that one or multiple placement(s) opportunity, go for it because that can open other doors for you and get your name in the industry. But if you were to ask me which I would recommend for early producers it would be to focus on finding an artist you mess with and believe in and stick with them. Develop their sound because the outcome of that relationship and progress you’ll make together is going to better than any placement you may be chasing to get. I also believe longevity and versatility is important when working/ developing an artist or even a  producer.  

What is your go to DAW and why?

I've only ever used and stuck to one DAW which is Fl studio because that's how I got introduced to it and I pretty much know how to use it pretty well when it comes to producing and even engineering on it. I also think it's more user friendly compared to the other DAWS out there but that's just my preference of course. I'm a little familiar with ableton just because most of my friends use it and literally everyone that I know who uses ableton are like musical geniuses so I wouldn’t mind taking the time to learn Ableton.  

Walk us through your production process from start to finish and tell us about how you change it up when working with artists?

Well it's definitely a whole different process whenever I make rap/ hiphop beats versus the Trap beats I'm known for. Like for the Trap beats usually there's always going to be a more complex structure such as a long intro or build up versus the normal structuring of a intro, two bar hook, and three bar verse in a rap beat. Also trap beats will have more automation and fx’s going on and will take longer than rap beats simply due to how much is going into the beat.

A good example is the “ANTHEM” series that a lot of people are probably familiar with. These two tracks literally have up to 8 producers on them and can be up to 6-8 minutes long. On the other hand, Rap beats can literally take 1-20 minutes for me to make, really depends on the vibe whereas I can spend hours on trap beats trying to perfect everything. Whenever I'm working with an artist I always keep in mind their style and to leave room for the vocals to sit well in the mix without them having to fight for space with the beat.  

Outside of Apollo1027 what other artists and producers have you worked with and how was the experience working with different artists creatively as well as a business standpoint?

Right off the bat I want to say Apollo1027 is definitely the most unique artist I've ever worked with in person. Since he also is familiar with producing and all that we can make something crazy when we're in the same room together. Another great artist(s) to work with in person is jusLo, 561Renzo, and Mark Richards. All really talented individuals that I'm glad I crossed paths with. This is why I prefer to work with the artist in person because this gives me the opportunity to work with them more efficiently and possibly get them out of their comfort zone, vice versa.

For most of my past placements like Juice Wrld, Hoodrich Pablo Juan, 6 Dogs, Yung Bans, $teven Cannon, and Scarlxrd all of these were done through a connection such as Danny Wolf or simply through email. The interesting thing about the Juice Wrld placement was a big surprise for me because I had no idea until someone told me that there was a JuiceWrld track that had leaked containing both of our tags. The track was titled “In a Mix’’ and had an open verse on it. Being a big fan of Juicewrld (R.I.P) this was one of the bigger accomplishments for me in my music career. With producers, I've worked with so many talented people like it’s crazy how some of these producers don’t even have a big following or any of that. There’s also some really dope producers I've worked with who are in Internet Money such as Rio Leyva, Cxdy, Spaceman, holy, and Noah mejia just to name a few.       

So what’s next for you in 2020, what are some things you hope to accomplish by the end of the year?

I definitely want to drop merch. I've had many people asking me when I will drop it and all that so I plan on dropping some pieces in the summer, if not in the summer definitely in the fall. The people who are always around me know that I already have stickers and such but I want to drop some hoodies and shirts most likely. 

Who should we interview next on Nefaroius Supply?

I would like to see my boys jusLo, 561Renzo and Mark Richards on here for sure.  

Any last words?

I just wanna thank you guys once again for having me, really appreciate you guys reaching out and all and shoutout to HotBlock Collective!

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Big shout out to Cosmic for interviewing with Nefarious Supply , if you want to stay up to date with him you can follow him on Instagram and be sure to check out his site as well. Let us know in the comments what your favorite release from this past week was! And If you want to stay up to date with news and content coming from Nefarious Supply you can find us on Instagram, and  Twitter. We also recently opened the Nefarious Supply shop so if you want to support you can show some love  here.

Black Lives Matter Now And Forever

This article is a little different, a departure from the usual content we share with our audience. Nefarious Supply was started with one goal and that was to create a platform for underground artists to thrive, and while that is still our main goal as a team we cannot just sit by silently with the recent events that have taken place in the United States. Nefarious Supply is made up of a community of minorities and we wanted to share our support with the most recent protests that have taken place in multiple states across the United States as well as globally due to the abhorrent murder of George Floyd at the hands of the police who have the oath to protect and serve. Unfortunately, George Floyd’s murder is a trend in the United States, and it is with great regret that his name must be added to the list of black victims who have lost their lives due to excessive force, and the racism that plagues this country. The unfortunate victims of police violence and racism also include Ahmaud Arbery, Breonna Taylor, Eric Garner, Sandra Bland, Stephen Clark, Alton Sterling, Trayvon Martin, Micheal Brown, Tony Mcdade, Kendrec Mcdade, Oscar Grant, Kenneth Chamberlain, Kimani Gray, Samuel Dubose, Philando Castile, Freddy Grey, Amadou Diallo and so many others whose lives have been snuffed out.

At the end of the day, America is a diverse country made up of people, and cultures that have contributed to the melting pot of what America is. it also a country where social mobility is a luxury not known to many parts of the world. But despite the positive attributes America has we would be ignorant to not acknowledge that this country has a problem with race that dates all the way back to its roots, and enough is enough. We as the youth have a responsibility to stand up and fight for what is right, and the change we want to see. We as the youth are responsible for setting the example for future generations and the ideals we want to uphold. Our voices deserve to be heard, and it is our constitutional right to get out there and made them heard no matter how much pushback we get from the current administration, and other who want to keep the tradition of racism alive we have to draw the line and take a stand and let them know enough is enough. All lives cannot matter until BLACK LIVES MATTER, and that is the current reality. The Nefarious Supply staff is standing on the right side of history and standing side by side, and in solidarity with the protesters and we will do everything we can to help fight to combat racism.

Ways You Can Help

Map Of Protests

Petitions

Text or Call

Donate

Resources

Advice For Protesters

Nefarious Release Radar - May 27, 2020

Stephen Jailon - Steezy EP 

With his third release of the year rising rapper Ali Road rapper Stephen Jailon has shown that he literally does not stop working, and that’s more than a good thing. Collabing with  Virginia based producer Breezy, Stephen is once again back in the spotlight with “Steezy - EP”, and honestly this feels a victory lap from him. Weighing in with 5 tracks, and under 15 minutes  Stephen flexes his versatility on all five riding his own wave and staying focused on the sound that not only built his fan base but keeps him unique from his peers. All while sharing another solid piece of work that adds value to not only his image but most importantly his discography, 

Best Tracks 

• VC15 

• Green Dot Anthem 

• Australia Remote 

Shalom Dubas - Mint, Green EP 

Her first debut on our platform, rising artist Shalom Dubas is solidifying her name with the release of her newest EP “Mint,Green”. This six track EP is a good introduction to her and her artistry and shows that Shalom knows what she is doing musically. Featuring a guest appearance from Nate Joël, Shalom Dubas is an artist that  should already be on your radar for underground talent. Be on the lookout for a new interview with her coming soon as well!

Best Tracks 

• 02’ Thicke

• One (For The $)

• The Biz (feat. Nate Joël) 

Meech - I’ll Be Back Soon, I Promise - EP

Whatever is in the energy up in Massachusetts is definitely needed down here because one thing you can count on is the artists at Van Buren Records are always working and putting out quality projects in the process. and that that trend continues with the release of Meech’s new body of work “I’ll Be Back Soon, I Promise - EP”. It’s been a while since we heard some new music from Meech but that doesn’t mean he fell off at all, and the release of this newest EP feels like him picking right off where he left off and thats a good thing. Coming in at four tracks and featuring production from James Rogers, Zac Vaughn, Kiyoto, and Defstarz, as well as guest appearances from Luke Bars, Stefan, Drok, and Lord Afrixana. “I’ll Be Back Soon, I Promise” is Meech reminding his fans as well as his peers that he’s still here, and if this is any indication of what a LP will sound like we are more than excited to hear it.

Best Tracks

• The whole thing from front to back!

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Some other honorable mentions include YSL’s Gunna’s return with “Wunna”. Duñe & Crayon “Hundred Fifty Roses”, Hanani’s, “Waiting - EP”. Grace Webner’s “How Did I Get Here - EP”. Calagary Based duo PASTEL with their debut release “Divine”, DMV rapper IDK's new song “Mazel Tov” with A$AP Ferg, Migos’s “Need It”  with NBA Young Boy and Eli Sostre’s “Curfew”. Let us know in the comments what your favorite release from this past week was! And If you want to stay up to date with news and content coming from Nefarious Supply you can find us on Instagram, and  Twitter. We also recently opened the Nefarious Supply shop so if you want to support you can show some love  here.

24

24 wassup bro first things first, I wanted to thank you for coming on Nefarious Supply and interviewing. So to get the interview started just introduce yourself to the audience who is 24 what circumstances led you to become a musician?

Wassup, so yeah. I’m 24. Pronounced “two four”. Just a 20 year old, young woman from Nashville, Tenny Tenessee. Born and raised. One of many artists from there. I grew up in the church and was around music nonstop. My mom sung in the choir, and mom’s side of the family was in the choir and playing instruments. Aside from that, my dad was a Detroit soul. He was rapping and used to be apart of the small music shows up there. My dad’s side of the family is based in Detroit andwas into music as well. I was always up there and around them, picking up from them. So pretty much I was around music, off the rip. So in a sense it was bound to happen. Around the age of 5, I began singing in the choir. And I started writing for fun when I was 11, and started getting into playing instruments and began to produce once I hit high school. I was like 14 and I began to take writing a little more serious throughout high school, creating my own songs. But would doubt myself so I wouldn’t put it out, focused on producing. Shortly after I decided to quit track, going into college, I found myself having more time and wanting to take music serious. And I did just that. Which has lead to this beginning

Being from Nashville how would you say this area has played an influence on you, and your music? 

Being from Nashville, this area influenced me heavy. It’s the Music City, and no not just country. The underground hip hop/rap and r&b/soul scene is ridiculous, and quite frankly the reason I am the artist I am today. Hitting middle school and high school, coming fresh outta high school into college. I was listening to guys like Brian Brown, Starlito, Trapperman Dale, Buck, and Ron Obasi, Peeping producers like AB Eastwood, Sir Illington, SykSense, Street Symphony, and many more. Even going to school with talented souls, who now are underground artists alongside me up and coming from Nashville. My family, it all has helped in some way or more. If it wasn’t for me being here in Nashville, I truly don’t think I would’ve become the artist I am today.

In addition to your music, how would you say the area is for the underground music industry as far as connecting and working with underground artists?

As far as connecting and working with other underground artists here, it’s perfect to be honest. Everyone here wants to work, wants to create. Nonstop. This music shit is what everyone wants to do forever. I believe we all have the same drive and same goal. To put on for our city and impact the world with our music. And we are willing to work alongside each other to make that happen.

Right now being a student at A&M how would you say you’re able to fit your artistry into your life as a student and how is college for connecting to musicians as well? 

I Would like to start out by saying shoutout to the newfound family, Alabama A&M. Bulldog things, and that only lol. Aside though, assuming you’re asking how I balance being student and being an artist. It’s not as hard nor distracting. Considering my major ties into music, it just makes things easier for me. Pretty much a full time artist, in ways. The connecting side of things, I initially came to Huntsville for not only new beginnings and peaceful setting, but to create and connect with other fellow artists of the Huntsville area. Huntsville is no Nashville, Atlanta, New York, etc. But there’s hidden talent here, lots of it. Especially considering you have colleges like Alabama A&M, Oakwood University, and UAH, Huntsville is bringing in talent from different areas/cities and bringing them together. All cause of college, in my opinion.

What artists would you say have had the most profound influence on your musically and why?

Outkast, Mac Miller, Childish Gambino, Tyler the Creator (Odd Future), Kendrick Lamar, ATCQ, Wu Tang Clan, Lauryn Hill, D’Angelo, Fleetwood Mac, Frank Ocean, Brent Faiyaz,Sonder, and Prince are some of the artists who influenced me heavy. I could list off more but these are who have the heaviest impact on me. Aside from growing up on these artists, one thing they have in common to me is that they all showed or continuously showing versatility and brought something new to the table with no hesitation, not caring what anyone has to say. Doing what they want, they are going to do it no matter what. For the love of it all.

Walk us through your creative process from start to finish and how do you know when you have something that you’re happy to share with your audience? 

My creative process is simple. At least to me lol. I tend to come up with melodies in my head on a daily, tend to just write nonstop as well. I’ve always dealt with a lot, still deal with a lot. Tend to be in my head a lot. And for me to release and get out of my head, the melodies come. The writing comes into effect. I just free myself. And when I end up behind that mic and the engineer gives me the thumbs to flow, I just flow. I release. That’s how my music comes to life. As far as knowing when I have solid content to feed to the people, I usually just know. I get that feeling of “yeah.. this is it”. and I do what it do, hoping the people dig. But also knowing the people will dig, you know.

So tell us about your double single “Black Notebook”?

So “Black Notebook” just kinda happened. I initially just had these letters in this notebook of mine that I wrote during a troubling time. A lot was going on and then a heartbreak occurred, kinda put the cherry on top of all the bullshit I was enduring. So during this period, I was pretty emotional. Constantly writing, nonstop. Music is truly my therapy, I need to release so I got from under my rock. I texted my good friend, Coleman Sutton, who helped co-produce. Along with mixed, and mastered the “2P”. Headed over to him, and began pouring my emotions out.

24. · black notebook.

We started creating these beats, I began pulling from these writings of mine and we created these songs. “Black Notebook” was born, but I wasn’t going to release at first. These were personal tracks so I wanted to keep them to myself. But I had to remind myself why I make music. Not only do I make music for myself or not only is it therapy to me, but it’s therapy for people too, you know. That are dealing with the same. I create for those who are looking for someone who understands. Yeah it’s lovely to have fun for awhile, but sometimes feeling is needed. So after having many moments with myself and thinking, decided that I was going to release these two tracks. In hopes that not only people feel me, but people to know I feel them too.

So what’s next for you in 2020, what are some goals you hope to accomplish by the year end?

Well of course school will be right back, so that’s great. No but all jokes aside, I plan on creating. As I do per usual. Put out more music, more content. Hopefully by the end of the year, people are hearing me. That’s really all I want. Oh and to hopefully have this project I’ve been working on done but no rush to that. All will do what it do, you know.

Who should we interview next on Nefarious Supply? 

Yours Truly, Jai. Man.. She’s from Nashville, as well. One of the most talented women I know. Voice is heavenly. Good spirited. Just a top tier artist that people should get to know. Her socials are @yourstrulyjai_ , she has an EP out now and a new single. A golden child, truly. Everyone should check her out.

Any last words?

“Black Notebook” out now! Stream that. New music is on the way! New visuals on the way, as well. S/o to Coleman, Auntie Jo, Jackson, Jeff, and Skyye. Cheers.

24.

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Bigshout out to 24 for coming on and interviewing with Nefarious Supply, his double punch “Black Notebook” is available on all streaming platforms. If you enjoyed this interview and you want to stay up to date with her you can follow him on Instagram as well as Twitter.

If you want to stay up to date with news and content coming from Nefarious Supply you can find us on Instagram, and  Twitter. We also recently opened the Nefarious Supply shop so if you want to support you can show some love  here!

Starz: A Look into Life in a Dystopian Europe.

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Yung Lean (Jonatan Leandoer Håstad) is a Swedish rapper that rose to fame after releasing his first major viral single “Ginseng Strip 2002” back in 2013. Through making music and listening to music, Lean was able to teach himself the English language by strictly grinding out tracks like there’s no tomorrow; either through his “Yung Lean” moniker or his “Leandoer96” alternate account on Spotify. While you can still hear a slight accent and one or two weird sentences since English is his self-taught second language, it 100% does not take anything away from his artistic integrity. As a matter of fact, I think it adds to the vibe he’s been going for as I’ve seen his style change repeatedly from the years of cranking his music on max daily.

So; Starz. Where do I even start…

This whole project is a masterpiece. I could talk about how ingenious the production is, how on point the atmospheric, desolate and yet full the vibe is and how the lyrics are kept simple enough to drive the point across while also drawing back the curtains on the confirmative and typical rap formula currently is for days. Instead – as per usual – I’ll be tackling my favorite songs off the record and different ways to go about listening to it and where to start as well.

On this 16-song project, I listen to all 16 tracks front to back - without fail - every single day since it dropped. 3 of these tracks are some of my all-time favorites; starting off with “Iceheart” on the tail end of the record. This song threw the old Yung Lean formula out of the window and attempted to tackle a KEY! (777 era) like delivery mixed with a very dark and dreamy trap beat over it. Lean goes off on this song, flexing his luxurious lifestyle; preferring to wear Prada over his massive collection of Goyard jewelry and wearing enough ice on his neck to weigh down an aircraft carrier. The production on this track is absolutely wild, ranging from heavy 808s to random percussion sounds and twinkly dreamscape-y melody in the background accompanied by a piano-trap style layer.

While most critics would advise you to listen to the album for the first time by starting at the top, I’d recommend starting off with this song first since it’s much more widely accepted by most fans with its straightforward delivery and full instrumentals.

Going back to the top of the project and making a full 180 on style and feel; “Dance In The Dark” is a very heartfelt song as Lean harmonizes over the melody more than aggressively attacking the beat. The lyrics are simple and scattered, yet they describe a feeling of euphoria and bliss by being able to let go of the seriousness of life and enjoying the smaller things: dancing under a blinking streetlight at the dead of night in downtown Stockholm. Lean’s singing voice really shines on this track as well. While yes; Lean doesn’t have the musical prowess of Alicia Keys or the pitch perfect humming that Kid Cudi can just whip out, the monotone delivery of the harmony adds more to the barren feel with this record which makes it much more intimate. This is the Yung Lean most fans are more familiar with; abstract beat and scattered lyrical delivery. This is the kind of song to vibe to more than bop at a party.

And finally; the best track title award goes to “Acid at 7/11”. This track sounds like if you mixed the “Iceheart” delivery with the “Dance In The Dark” instrumental and make it sound as good as Lean did. While this whole album feels like a euphoric acid trip, this track is the peak of it all for sure. Lean goes on to describe his “addicting” personality and how women flock to him from all over the place, as if they’ve chasing the high they were on while being with him (that’s what I like to call a ‘Lean binge’). This track is fun; it’s the sort of vibe you’d have after a good Saturday night; a nice, subtle beat and an easy-to-mimic delivery without too much thought into the intricacies of metaphorical writing or a dynamic and complex motif.

That’s what I have to say about the album; overlooking the obvious lack in language proficiency and simpler lyrics: a solid 8.5/10 in my books and a definite recommendation for anyone looking to explore a more barebones concept of alternative hip-hop. However - like my King Krule review – I feel like if you wanted to absorb the full Yung Lean experience in order to develop an ear for this genre, you should definitely check out “Kyoto”: a single he released during his early phases of making music in 2013, “Yoshi City” off of his second album “Unknown Memory” in 2014 and “Red Bottom Sky” off of the “Stranger” album in 2017.

I hope you all are staying safe and occupied during this lockdown; the best thing about it is we have new music coming out every other week with enough time to sit and really appreciate the artistic integrity and effort put into every sound, along with the transitions between tracks and the overall concept of the projects.  Keep listening to music and maintaining social distance!

YUNG LEAN · Starz

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Let us know what your favorite song is in the comments below,  and If you want to stay up to date with news and content coming from Nefarious Supply you can find us on Instagram, and Twitter. We also recently opened the Nefarious Supply shop so if you want to support you can show some love here!

BROCKHAMPTON - TECHNICAL DIFFICULTIES

The boys are back yet again, with seemingly another season of aesthetics, vibes, and underlying themes for their fans to eat up and pass around. The self-proclaimed hardest working boyband in America, BROCKHAMPTON, has released four new singles on their Youtube channel in the last four weeks. The four tracks (so far), as with most of these pre-album drops, came without any warning, and at odd times of the night.

However, with collaborations from long-time friends, such as Ryan Beatty, and newcomers to the universe of our favorite boyband, like Christian Alexander, Brockhampton seems to be back in full creative swing!

Below we run through the various artworks for each song as well as the meanings behind the lyricism heard on each track, specifically from the band’s leader, Kevin Abstract, and fellow member, Matt Champion, who we feel snapped especially.

N.S.T

The first track, “N.S.T” (standing for N*ggas Stay Tellin) starts off with the titular tag, originally from the beginning of an unreleased 10-minute freestyle by New York rappers Jay-Z and Big-L before being led into the intro which is helmed, surprisingly, by Jabari Manwa, a member of Brockhampton’s sub-group, Q3 and a main producer for the band.

The band is in a state of paranoia and wariness on this track, speaking on subjects of skepticism and underlying motives are explored as the boys wonder if those around them are true and genuine to who they are when it comes to the band’s fame and success, or if they are simply using them to prop themselves up.

The artwork for the track is listed below, and the picture used depicts Arnav Gupta, a man who set himself on fire in May 29, 2019, near the White House. He later died of his injuries.

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things can’t stay the same

The second track, which released on the same day, is named “things can’t stay the same”. This release only features Kevin Abstract and Matt Champion from the band and the two make sure to solidify themselves as lyrical powerhouses of their own. Speaking on themes of nostalgia and reminiscence, the two become contemplative of their life back in Texas, where Brockhampton started.

The previous artwork for the track was a painting, created by Jenna Gribbon. However, she stated that the band did not ask for her permission to use the artwork. After being called on it, the boyband took down the artwork and video altogether, replacing it with a new picture, portraying the HD SMPTE color bars usually seen in television test patterns, and re-uploading it.

However what you see below still holds true to the current artwork, courtesy of the band’s art director, HK.

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twisted

Part of the second wave of BROCKHAMPTON’s quarantine dual releases, “twisted” starts out the gate with another powerful verse from Kevin, bridged into a shared chorus between him and band vocalist, Bearface. As if we couldn’t be blessed enough, yet another Jabari feature appears, the producer editing and warping his vocals to sound almost sapient and insightful as he flows through the second verse, before handing it off to newcomer Christian Alexander to slay that last leg of the track.

Throughout the song, it seems as though the band is conveying their melancholy through their production and lyrics, as well as their loathing for how their words are twisted and their meanings are manipulated, leaving them to come off as untrustworthy.

The cassette-like artwork of HK listed below is accompanied by a picture of a sky with the sun setting with what is presumed to be blurry power cables of an electricity pylon. The source of this photo is currently unknown.

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M.O.B

The final track so far and the latest track of the TECHNICAL DIFFICULTIES quarantine tracklist, “M.O.B” holds a similar title design to N.S.T, and also is an acronym, standing for “Money Over B*tches”. The track holds the second-largest amount features of all four releases, with band members Kevin Abstract, Dom Mclennon, Matt Champion, and Bearface collaborating.

The track explores themes of unity and loyalty, from Kevin claiming “These my dawgs for life”, to Dom confidently stating “Holdin my dogs down to the right and I got my baby to the left”, the boys are riding for each other through thick and thin it seems with this track, and as Champion so eloquently puts it, hopefully with the coming of a new album, Brockhampton is going to “Fuck around, leave your jaw down”

The track’s artwork follows HK’s usual cassette-like design, as seen below. The picture accompanying the art portrays the hands of a person holding a stack of cash. However, as it is with “twisted”, the source of this image is unknown.

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Let us know in your comments what you favorite song from them is. To stay to date with Brockhampton and their new releases you can follow them on Instagram as well as Twitter. If you want to stay up to date with news and content coming from Nefarious Supply you can find us on Instagram, and Twitter. We also recently opened the Nefarious Supply shop so if you want to support you can show some love here!

M1RZA - Prince by Blood

M1RZA first things first welcome to Nefarious Supply, just to get the interview started  introduce yourself, who is M1RZA and what led you to become a musician?

Well you already know my name. I’m a 24 year old artist from Toronto with South-Asian roots. I’m just a man trying to navigate this crazy world and tell my story while I can. Hopefully people can relate and find some comfort in my words.

Your moniker M1RZA is amazing bro tell us about how you came up with it, and how it fits into your overall image and discography? 

Mirza is my family name. It’s something that was always a part of my identity. The “1” represents a few things. I’m the first son of my immediate family, first person to move out before marriage, first person to pursue a career in the arts… the list goes on. “Mirza” also directly translates to “Prince by Blood” in Persian. There is a lot of responsibility that comes with a name like that. I don’t consider myself to be royalty in the traditional sense where I have power over others. I try to carry myself with honesty and humility. Share whatever power I have with the people around me. Lead by example.

So where are you from, how has this played an influence on your sound, and most importantly how is the area for underground talent?

I was born and raised in the Upper-beaches community of Main and Danforth. Early on in my life I was very sheltered and the only music I would hear would be soundtracks from Bollywood movies and religious music from Pakistan. The religious music in particular had a way of pulling you in and taking you to a different place. Almost a transcendent experience. The Bollywood movies and music played a role in what I thought entertainment was for a very long time. The different colors, textures and patterns, the over the top dance routines were all very influential and eye-catching. 

When I finally started elementary school the music that would score my childhood is the likes of Lil Wayne, T-Pain, Akon, Eminem, The Game, 50 Cent, Marques Houston, and Omarion to name a few. Rap and R&B immediately became an obsession of mine. I would go home every day after school and watch the same handful of music videos I knew on loop. “Riding Dirty” by Chamillionaire, “Smack That” by Eminem and Akon, and “Drop it Like it's Hot” by Snoop Dogg and Pharrell to name a few. Eventually my siblings and I would watch 106 & Park, BET and MTV on the weekends like a ritual. I don’t know of many artists/ creatives from Main and Danforth. I haven’t been back in a very long time. 

What would say are some important lessons you’ve learned since you’ve started, and what is some advice you would give a new artist looking to start?

I've been making music for about 6 years now and have met a lot of amazing (and questionable) characters. Some have become what I hope to be lifelong friends and some were just visitors in my story. I came into the game expecting everyone to be as hungry and respectful as I was and I learned very early on that this isn't the case. This business is a very ugly one and can turn you into a monster in the process. It also has a tendency to bring out the best and worst in people. My journey always brought me back to self awareness and analyzing my actions/words. I've learned that I can never control my environment or the actions of others, however what I do have control over is how I choose to carry myself and how I react. 

1. Patience is key 

2. Always write from the heart

3. Be open to collaborations

4. Learn what is for you, and what isn't for you

What artists would you say have had the biggest influence on you, and your overall sound?

This answer changes the older I get. Every year I find new sources of influence. Its a pattern of shielding myself from the outside world and knit picking through the oversaturated market. Growing up I listened to the artists mentioned above a lot. Particularly Lil Wayne, T-Pain, Akon and Omarion. I was always attracted to anything melody and groove driven. I also have immense respect for incredible writers. Later on around highschool I got into the hometown heros like Drake, The Weeknd, and Partynextdoor. Travis Scott, Young Thug, and Frank Ocean were also huge influences.

In college I opened up to different genres and learned to appreciate music completely different than what I was used to. Dived into music history and learned about my idols influences. Learning about what made the artists I love who they are was an eye-opening moment for me. Music history is very interesting and there is a lot to learn about our past as a western society. Music has always been a catalyst for expression and change. I think it's really important to remember that and for artists to contribute to the conversations we're having as a society.My sound is always evolving and changing. I'm very inspired by my friends and peers like Kafaye, Abscond, Moel, M.I. Blue and Deelo just to name a few. They are unapologetic with their self-expression and that pushes me as a creative to do the same.

Tell us about TOPLEF?

TOPLEF is an umbrella brand I founded with a few friends to allow for full creative freedom and support any future endeavors we wish to pursue. The meaning behind TOPLEF stems from the Toronto slang term “Top left.” It is a term to display honesty and is used to place a promise. Over the top left of your chest. The heart. TOPLEF represents an ideology of always operating from a place of self-awareness and honesty. It’s not about trying to be the realest or most “woke” person in the room. Self awareness can look like admitting to one’s faults or shortcomings. It’s all about accepting yourself for who you are. All you’re capable of and your limitations. It also represents the idea of being proud of your heritage and displaying your love for it unapologetically. Anyone that lives their life to the fullest and strives to be better for themselves is a part of the TOPLEF family. 

Okay so music bro, your discography is amazing. Everything is quality but the cuts that stand out the most to me are “Clairvoyance” produced by Super Miles, “On and On” produced by Laughty, and “Fantasy” tell us what inspired each of those songs?

Oh man. My memory is terrible but I’ll try my best. “Clairvoyance” was inspired by my first trip to LA in the summer of 2018 (Exactly around this time two years ago). I was invited to a writing camp by Ty Senoj at the KIDinaKORNER mansion. One night we went to a party Director X was hosting to celebrate the release of his movie “Superfly.” His house was at the top of a hill and you could see the entire valley. “Clairvoyance” was a continuation of a night spent partying in LA. Just the dark side of what always seems to be a good time. People love talking about the high but brush the comedown under the rug. Super Miles is also one of the best producers I’ve ever had the pleasure of working with and he's doing some amazing things right now. 

“On and On” was a cut Laughty produced for me back in 2017. I feel like my best work has surfaced when I was going through a heartbreak or have troubles in my romantic relationship. On and On was a moment of admitting faults but also understanding that it's time to move on. You can’t wait on anyone or anything because time doesn’t either. 

“Fantasy” was recorded in 2018. Another Laughty cut. Infidelity has been somewhat of a common theme in my music. Something about secrecy and doing something you’re not supposed to has always been something I’m drawn to. We finished that song in the SOCAN studios and I knew it was a special record as soon as it was complete. I waited 2 years before releasing that song. I’m very proud of that one. 

So you’ve worked with Kafayé, abscond, Super Miles, S.L.M.N, Laughty, Twigg, Hudson Alexander, THEMXXNLIGHT. What led to you guys meeting and working together?

I started my musical journey with Laughty. We both went to the same high school in Toronto and moved to Pickering around the same time. We also decided to continue our education at the same school in Toronto so we would end up taking the GO Train together everyday. Two years later we started making music together because we were bored with suburb life. There was nothing to do so we found a common interest and started creating. 

I met THEMXXNLIGHT via soundcloud. We were both coming up around the same time we started making music (Early 2016). I became a fan of theirs as soon as I heard their music. Laughty and I reached out to collaborate and they were very easy to work with. We ended up with “Addicted” and Laughty produced a song called “The Man” for them. We met once when they came to Toronto and they actually shot a video for The Man. Not sure if it still exists somewhere. They had just started working with Taylor Gang around then. Shortly after, they took off and I’m very proud of them. They deserve all the success they find.

I met S.L.M.N through a mutual friend in December 2017. We had two sessions together. The first time we met we got acquainted and just chopped it up. The next time we met he made me a beat on the spot and that song ended up being “Running”. That record just dropped a few months ago. S.L.M.N is an extremely humble and talented creative. He just released his debut EP “Late Bloomer” so make sure you go check that out.

I met Hudson Alexander at a random studio session he was having with Boy Pape and Ty Senoj at his home studio in Toronto. Also an extremely talented individual. Works with a lot of dope local talent. We’ve had a handful of sessions together and always make some cool records whenever we link up.

I met Twigg at a SOCAN writing session in 2018. I was working out of the SOCAN building a lot around this time and my friend Aidan D’aoust invited me to these sessions they hosted with a producer and two writers. A year later Twigg and I reconnected at Soleil Sound (RIP) where we made “G2G”.He cooked up the beat in less than 20 minutes and we finished the song in a few hours. Lovely fellow also doing some incredible things.

I met Abscond many years ago when he worked at a hat store at Queen and John called BRIMZ. I would see him DJ around the city as well but we never became friends until years later. Myles Maximme (founder of Half a Concert) reached out to me at the top of 2019 to discuss any possible collaborations. I was working on a listening party set for mid March and Myles agreed to help coordinate the event. On the day of the party he introduced me to Kafayé. Myles also booked Abscond to DJ the event and this was the first time all three of us were under the same roof. After the event was over Ab, Kafayé and I started freestyling over some beats and Director X invited us to perform at the AGO Massive XV, a yearly fundraising gala that X was creative directing. Since then we’ve become very close friends and have created a lot of music together. I have nothing but undying love and respect for Ab and Kafayé. 

What are some things you look for before you work with another artist or producer?

I like to look at their catalogue of released music. If I like what I hear, then I continue to get to know the artist or producer. What matters the most to me is their drive. I need proof that music is your life and you do this because you love it. I like to work with people that push me creatively or I can inspire to be like. I don’t like being around people who are uncertain or only do music part-time. 

When can fans expect some new music?

I have a lot of unreleased music at the moment. By the time this comes out there should be a new single available. This year is very weird due to the COVID situation and I’m adjusting accordingly. I can’t tell you when more music is coming but what you can count on is that it will be quality work. 

What’s next for you in 2020, what are some goals you hope to accomplish?

Learn. Unlearn. Learn. Experiment. Create. I want to learn how to play guitar and piano this year. Other than that I just want to be a better person. 

Who should we feature next on Nefarious Supply?

Kafayé, Abscond, M.I.Blue, Moel, Deelo, Myles Maximme. Take your pick.

Any last words?

Stay safe and be kinder to one another.

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Big thank you to M1RZA for interviewing with Nefarious Supply. If you enjoyed this interview and want to stay up to date with him you can find him on Instagram, and Twitter and his music is available on all streaming platforms.

If you want to stay up to date with news and content coming from Nefarious Supply you can find us on Instagram, and Twitter. We also recently opened the Nefarious Supply shop so if you want to support you can show some love here!

Nefarious Supply Release Round Up - May 16, 2020

As the second week of May comes to an end and we start to ease back for the weekend it is  once again that exciting time for new music releases and another episode of release round up where we talk about our top 5 projects released during the week.  This week saw a number of hot releases from a wide range of talented artists but for the Nefarious Supply staff our top 5 favorite projects of the week come from Deante Hitchcock, Future, Che Ecru, Odunsi (The Engine),  and RIMON. 

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BETTER - Deanté Hitchcock 

Starting off at our favorite project of the week is Atlanta based artist Deanté Hitchcock who released his debut studio album “BETTER”. A talented rapper who knows what he is doing in the studio Deante Hitchcock’s new album includes guest appearances from J.I.D, 6LACK, Young Nudy, Miguel, and much more all of who fit in with the sound, and theme of the entire project. And while lyrical rap may not be what is popular on the market  right now even casual listeners  won’t be disappointed because of how relatable the project is.  A hidden gem in Atlanta,  Deante's musical talent and lyricism shines through his work and with the release of “BETTER”  he has not only raised the bar for  himself but moves the bar even higher in terms of what we can now expect from him and how his peers will respond. 

Best Songs: 

• I Remember Attitude (feat. Young Nudy)

• Flashbacks (feat. Miguel & St. Beauty)

• Growing Up/Mother God

High Off Life - Future

Honestly what is there to say about Future, you may not be proud of yourself for listening to him but what doesn’t mean King Pluto himself makes bad music. Announcing the newest project without warning “High Off Life” comes right after his last album “The WIZRD”, and features some heavy names including; Travis Scott, NBA Young Boy, Young Thug, Lil Uzi Vert, Drake, Meek Mill and Doe Boy. The entire project from front to back is peak Future and while his name does carry controversy that lowkey what makes the album enjoyable. 

Best Songs:

• HiTek Tek 

• Posted With Demons

• Too Comfortable  

Prejection - Che Ecru 

Okay so before you yell at us and say this project isn’t really newit is the first time that Che Ecru has packaged the songs together as a project and put them on Apple Music so to us and Apple Music it’s new. Che Ecru's previous work include  a collection of top notch singles on Soundcloud, as well as  “Fan Out of Rucks”, “Ghost Need Love 2”,  “Pain Pack” and his most recent album “Still Single”. Do you self a favor even if you haven't heard his previous work make sure you listen to  “Prejection” with only one guest apperance from Carrie. This newest body of is the perfect place to experience his dynamic vocal range as well as his skill on the production end of things. 

Best Songs: 

• Who Cares

• Wmb

• Put it Down 

EVERYTHING YOU HEARD IS TRUE - Odunsi (The Engine) 

An artist who has just popped up on our radar, Nigeria based Odunsi (The Engine) is so underrated it is almost criminal. After listening to his previous work which includes his debut project “Time of Our Lives”, and “rare”. His newest album “EVERYTHING YOU HEARD IS TRUE” stays on course with the quality of work that he has become synonymous for. Featuring guest appearances from Maison2500, DETO BLACK, and Gigi Atlantis “EVERYTHING YOU HEARD IS TRUE” has Odunsi gliding smoothly between alt-pop, funk, hip-hop, and trapsoul. 

Best Songs:

• luv in a mosh 

• airplane mode 

• wicked, sexy! (Maison2500) 

RIMON - I Shine, U Shine EP 

Amsterdam based artist RIMON has been making major waves since her debut EP “BBYGIRL FOCU$” back in 2018. Able to tell vivid and intricate stories through her music RIMON is best known for her ability to blend hip-hop and soul. Back again in 2020 RIMON brings the hear with her newest EP “I Shine, U Shine”, which features guest appearances from Darrell Cole, and Denzel Curry. A worthy addition to her discography RIMON has nowhere to go but up from here. 

Best Songs:

• The Morning

• I Shine, U Shine

• Got My Back (with Denzel Curry)

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In addition to our top 5 of the week some other worthy honorable mentions from this past week include; Seddy Hendrinx’s “B.H.D. (Black Hearted Demon”, Chali XCX’s “how i’m feeling low”, ASL’s “Skyloft”, Polo G’s “THE GOAT”, Roy Wood’s “Dem Times”, Dijon’s “How Do You Feel About Getting Married - EP”, Noah Cyrus’s “THE END OF EVERYTHING”, ADÉ “wyd after?” - EP, and Terrace Martin’s “Impedance” - EP. What was your favirtoe project from this past week, and what did we miss let us know in the comments below.

If you want to stay up to date with news and content coming from Nefarious Supply you can find us on Instagram, and Twitter. We also recently opened the Nefarious Supply shop so if you want to support you can show some love here!

ISOLATION STATION EP 2 - The Hype Don't Stop

In this segment we’re giving life to the leagues of music being dropped every week during this trying, yet, interestingly enough, personal time. We at Nefarious Supply want you guys to always have a new underground project or creator, either on your mind, on your playlist, or on your feed in some way, shape, or form. In this instance, we’re doing this on an episodic basis and deciding to write on all the new music coming in through this station, five tracks at a time.

Our second episode brings us bangers from rap collectives such as DKTM and the Van Buren Boys, as well as sprinkles in some international sound from Calgary’s MainCiaga. Chicago newcomer Saeed accompanies Down Silence and Gussi Chamberlain in this six-track rotation.

Take a look! 😈

Van Buren Boys - Mo in the Benz 

The newest release from the Brockton label, Van Buren Records, the VB Boys aren’t letting their foot off the gas this quarantine. Mo in the Benz is the third installment of the Van Buren Boys, which features every member of the label on a track.

Starting with heavy-hitting production from R Louie and an infectious chorus from Luke Bar$, Lord Felix slides into the flow, smooth as always.

He alley-oops to Jiles, who drops heavy and confident bars before slipping right back into the chorus. Saint Lyor helms the last verse and sets the production on fire for the last minute and ten seconds, closing the hype anthem off on a high note. 

Pope Loud - Weight (ft. Blk Lexx & Beggar Allan Poe)

A Nefarious favorite, DKTM is back again with members Pope.Loud, Blk Lexx and upcoming artist Beggar Allan Poe, coming together for the silky and illustriously lucid track, Weight.

The first thing that catches your eye on Weight is the sheer depth of the production, from heavy bass and 808s to some sort of frantic synth progression and an overlaying sultry melody, the beat in and of itself is great.

Praise Baat Choy and Mouse. However, the vocals and lyricism of the track make it that much greater. Pope, Beggar, and Blk switch flows and pass verses smoothly throughout the duration of the track, letting off on various dark and brooding topics and ideals, bringing the overall atmosphere of the track to a head. 

Saeed - Wicked Games Remix

Saeed is an upcoming rap artist based in Uptown, Chicago. In this dusky flip of the Weeknd’s Wicked Games, Saeed takes his time in the world of the XO King, embedding himself into the additional lyricism he spits over the slow and deliberate production.

He speaks on drunken nights, leaps of lust, fake love, drug obsession, and much more, flirting with the production as it strings him along from verse to verse. Saeed has proven himself a force to be reckoned with in the Chicago area and all of the Underground community. Look out for more from the artist on the Nefarious Blog!

Down Silence & Gussi Chamberlain - Exposure 

A collaboration between Down Silence and Gussi Chamberlain, Exposure slows our playlist down a few bpms and adds beautiful guitar progressions and rightly placed hi-hats to complete the solid production. The vocals on this track are amazing and you could coast off them, alone, for the entire three minutes.

The fluttery melody gives the low-tempo beat to cruise all the way through the duration of the track beautifully.

MainCiaga - Drippin (prod. YeahthisMoh)

MainCiaga is a Canada-bred rap artist, based out of Calgary, Alberta. Ciaga has just released the video for his new song Drippin, produced by YeahthisMoh and shot by Alp Ardic. The soft beat with the light-hearted 808s and hi-hats pave a smooth road for Ciaga to steer his lyricism and flows along the beat.

It becomes a nice foundation for the grungy and heavy lyrics Ciaga spits overtop, and the video is honestly simply a good time. Take a look and leave a like!

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If you enjoyed this week’s episode of isolation station be sure to give the artists featured this week a follow and checkout the rest of their discography!

If you want to stay up to date with news and content coming from Nefarious Supply you can find us on Instagram, and Twitter. We also recently opened the Nefarious Supply shop so if you want to support you can show some love here!

[MYMHM 2] Stephen Jailon - Oakwood

Stephen Jailon is back again with his newest release, Oakwood, an 11-track LP that spans topics of love, fake hustling, idols, clout-chasing, hunger for success, the strife for togetherness, the fear of losing, and ultimately loving what he does.

Oakwood puts the North Carolina artists back in his hometown, and surrounded by his roots, pulling from real experiences and fantasies of future success all within this 24-minute tracklist.

Take a look at our review of the new Oakwood album, on this episode of Music You May Have Missed! 😈

Hippies

Hippies is the breakout single from Jailon’s Oakwood tape, starting off the album on an upbeat note. The production hops and jumps with every inflection of the rapper’s tone and the subtle 808s swelling underneath the infectious hi-hats act as a perfect base for the synth-driven, triple-layered melody. Stephen rides all of this flawlessly, and reintroduces himself to those who forgot, reminding them that he’s “a king, period.” and to “turn it up so these f*ck n*ggas hear me!”

Smashbros

Taking a Latin approach with the production, Jailon shoots out the gate on a lyrical thoroughbred, racing along the beat and missing not a cadence nor beat switch. He alludes to many different topics on the track, from fake hustling, moving like his idols, spending the days in the East, and getting straight to the point. The beat is alluring and keeps you just as entertained and intrigued as the North Carolina artist.

Good Credit

A quietly fast-paced, uptempo track, Good Credit seems to be an endless void that Jailon seems to vent all his frustrations and truths into. Cold-blooded moves, staying strapped and ready at a moment’s notice, never letting his credit sour within the community you’re from, running through Raleigh, spending a rack like its virtually nothing, this is the essence of Carolina, and Jailon is giving us a ride in the passenger seat.

Go (ft. OMGItsBreezy)

An autotune-friendly melody and vocal performance by Jailon and the members of Ali Road Studios paints the foundation for both Jailon and Breezy, another upcoming trap artist from North Carolina, to bring heat as per usual. As if alley-ooping to a teammate, Jailon executes his verse perfectly, tossing up the third act of the track for Breezy to slam down with an autotune-refined finish, letting the instrumentals ride the last seconds out beautifully.

New Circus

On New Circus, Jailon speaks on the trials of living in North Carolina, growing up within the streets and hustling and giving back to his day ones, giving clout to those who don’t deserve it, how the internet has become the new playground for gang activity and violence, these themes are explored quickly, yet punctually and elaborately. Though New Circus is a short track, it slows down the production style of the tape, easing the listeners into Jailon’s next track, Setups.

Setups

Starting out with a Travis Scott-like introduction, the beat transitions slightly, adding the subtlest of harp-like progressions, which float lightly atop a smooth and deep 808, with a nicely-spread beat layered overtop. The melody seems to be carried off by a deliberately, slightly off-tune trumpet which wraps the instrumental up well. Stephen talks about how his lane differs from others, money-wise, female-wise, clout-wise, he rarely lets the beat breathe, not that it needs to, and talks game to those in his way.

Urgency

With an unknown sample being the centerpiece for Urgency, Jailon gets right to the point on this spooky instrumental. Jailon speaks on the familiar themes on this album, hustling, betrayals, fake love, money, drug running, fear of loss and hunger for success, it’s all there, and mixed and mastered perfectly for the listener to bop their head to for a good two minutes.

Body for Body

Body for Body is Stephen’s promise to those who’s been with him since the start that he will be there for them through thick and thin. He implores that they take care of their own and look out for one another. The simple production adds to accentuate what Jailon himself is saying and stays lowkey and supportive towards the end of the track.

Ghetto (ft. Woo$y)

Ghetto is the second track to present a feature on the Oakwood tape. Back to the roots of trap, the dark and brooding production returns as Stephen does what he does best and flows on the beat like butter. He talks his game and spits effortlessly for the duration of his verse. He references the Coronavirus and the sub-sequential quarantine that has taken place because of it, before passing it to Woo$y who picks up where Jailon left off, stating they’re taking shots like a vaccine. After an autotune-swelled vocal-riff of a verse, the two let the track ride into the darkness.

Identical

Identical is Jailon’s hardest flex on Oakwood yet. From boasting about Chanel, killing anything with a guitar beat, waking and baking, ignoring lames, working cash, loving what he does, and riding with his label, Ali Road Studios, Jailon’s confidence is through the roof, as it should be by this point in the tracklist. Having illustrated his life up until now, it was about time the artist spoke on his success.

Chillando

Chillando seems to be a slang-word used by Jailon and may be a North Carolina term, the word could be roughly translated to screaming or shrieking. On the track Jailon mentions this term more than once in different instances, but we deduce that it means “going wild” or “going crazy”. Do not take this translation as fact, as we’re speculating ourselves. Either way Chillando is a chill summer vibe that can rock on the subwoofers at any time of the day.

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Oakwood by Stephen Jailon is available all on streaming services right now. If you enjoyed this episode and want to stay up to date with new music from him you can find Stephan Jailon on Instagram as well as Twitter.

If you want to stay up to date with news and content coming from Nefarious Supply you can find us on Instagram, and Twitter. We also recently opened the Nefarious Supply shop so if you want to support you can show some love here!

Jules - Dukie EP

Jules welcome to Nefarious Supply, I wanted to start by thanking you for sharing your debut project with us and coming on to interview with us. So to get this interview started just tell us about yourself who is Dukie Jules, and what led you down the path to become a musician?

 Ayo, thank you for taking the time to listen. My name is Jules. I’ve never really had to describe myself, but I’d start with shy. I don’t speak much unless I know you. I’d also say I’m a geek, or nerd, whatever you wanna call it. I’ve always had an appreciation for artistic expression of any sort: movies, comic books, poetry, clothes, and obviously music. I’ve always found it easiest to relate my life to symbolism and art, so if I’m not talking I’m day dreaming. I had a single mother for most of my childhood so I had to create my own fun. My freshman year of high school my English teacher loved my poetry, and told me to keep going. I loved to write almost as much as I loved listening to rap, so the jump to music wasn’t hard. I told my family to only get me production software for my birthday because that was cheaper than individual gifts anyways. I tried my best to avoid YouTube beats because if my music isn’t me, what’s the point? That was 2013.

Where are you from and how has this area had an influence on your, as well as your music?

I was born in Chicago but my mom moved before I can remember. I’ve spent the majority of my life in Milwaukee so I call it home. It’s a majority-minority city that is as segregated as it is diverse, and small enough that I have family and friends everywhere. I’ve always assumed being biracial played a large part in the variety of people I know. I know a lot of people who don’t have the luxury of meeting people without school. And my art is a reflection of what was, is, and what’s to come for me. If anybody can relate I call it progress.

Who would you say right now are some of your biggest musical influences to date and why?

My momma was a huge punk rock head, so I’ve always loved rebellious shit or anything off kilter. When my father came back into the picture I was 10 and he loved Motown and most rap, so I’m not picky. I grew up on anything from The Clash, Talking Heads, and David Bowie to 50, Kanye, and JAY-Z. Right when I had gained control over what I listen to, all those worlds seemed to collide. The internet age of rap had a HUGE influence on my music today. I loved Odd Future, Black Hippy, Chance, and Childish. It was beautiful to watch Hip-hop, genre-bend and inspire kids like me to be ourselves.

So let’s talk music bro, you released your debut project “Dukie - EP” give us some background on it and what inspired you to make it? 

Dukie Ep was not something I had intentionally set out to make; but more so a byproduct of spending a year having fun in the studio with Joey Indigo, and Sam Catral. Joey assembles the beats and engineers, and just so happens to be an amazing photographer. Sam is a freak jazz guitarist, and multi-instrumentalist. Both of them are the architects of the sound on Dukie Ep, literally bringing to life what I’m feeling sonically and inspiring me to step my shit up when I’m in a slump. It had been 9 months since we put any music out but we had a lot in the vault. So I went back and chose the puzzle pieces that I felt flowed together both in train of thought, and sound. Internationally dukie means shit (which is fucking hilarious), however if you from the Mil you know dukies are Air Force 1s. Dukies have always been my favorite shoe since I was little. I remember how excited I was when my mom could afford to buy them for me. The title really isn’t any deeper than homage to my favorite shoe and the play on words for the cover to make sense. 

So four tracks on it walk us through each one? 

 Lowtide: I had the beat from joe for a long time, but I fell in love with it on the first listen. The guitar was warm and filled my brain with imagery, and the drums were dope too. Super Boom-bappy. I kept picturing a warm overview of a beach with waves. I was driving to work listening to the intro track from Beats, Rhymes, and Life by a Tribe Called Quest. It addressed the state of rap at that time, and the influence the genre had on the younger generation. What they called fads, we now call waves and most come and go. If you are incredibly successful, but you are not you, kids see that and follow suit. This track was my take on that and a brief introduction to me as an artist.

Up (how you like that): The structure of my sobering verses was to juxtapose the chorus. The verses addressed my parents impact on my childhood, trauma, belief in a higher power, and paranoia. I wanted it to run like a train of thought that gets interrupted by the chorus. The confident chorus is just a reassurance to niggas asking me if I’m good. Ultimately I am, but I don’t want to talk about what I think right now. We’re driving.

Toilet Thoughts: This is the interlude to the EP that I had written as a spoken word, after almost losing one of my best friends. Just a reflection of what I had been feeling afterwards, a quarter life crisis if you will. Usually these anxieties hit me anytime I let my guard down or am left with an idle mind... like when I’m taking a shit.

Same ole Shit: I wanted this as an outro because it sounded like winning. The regal piano, upbeat 808s and hi-hats sounded like movie credits, and personally the weekend feels like movie credits. Juggling my mental health, being broke and chasing my dreams can be as tiring as ever. Flexing my ability to let go and not stress, even when I should, feels great. It feels new every time, even though it’s a weekly occurrence. I gave Kenny the open verse and he completed the puzzle like a fucking g

What producers did you work with on the album and how was it in the studio having so many different creatives work together?  

The production on the tape was handled by Joe, Sam and I. We have all been great friends since before the music, so this never felt like a chore. I’d usually get off work at 8pm and meet them at sams crib; smoke, talk shit and make music until we couldn’t keep our eyes open. (HUGE THANKS TO THE CATRAL FAMILY) There was never any real conflict throughout production, but leading up to the release there was plenty of debate on what to release or what to finish. Occasionally Sam and Joe would get into it over mixes and transitions, but never anything we took personal. We all listen to different shit, and have different ears so if we come to an agreement then the track has to be pretty smooth. My brothers.

What about Kenny Star, how did you guys meet and what led you to tap him in as a feature on the project?  

I met Kenny in high school through mutual friends, that too was before the music. He’s one of the funniest people I’ve ever met; great energy across the boards. Once I found out he rapped I didn’t have to investigate because I knew he would be cold. From then on we would get in the stu every time he was back in the Mil from college and chop it up whenever we can.

So safe to say that the Dukie is a solid piece of work, so my next question is when can we expect some new music from you? 

I never fully stop writing and want nothing more than to expand my sound, it’s just incredibly hard to do that during this lockdown. I do however have a lot of completed ideas I’m ready to execute ASAP. Expect something as soon as we are let out the house. Maybe a music video, we’ll see.

What are some of your biggest goals in 2020, and where do you want to be by the end of the decade?

Goals for 2020: Make it out this bitch alive, and help my family and friends however I can. Of course report on the experience through whatever I create. In all honesty I just want to make great shit as long as I possibly can and continue to grow with my music. The accolades would of course be cool because that indicates people can relate. As long as my family is fed and I’m still making exactly what the fuck I want, the decade will be a success.

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Big shout out to Jules for coming on and interviewing with Nefarious Supply, if you enjoyed this interview be sure checkout “Dukie - EP” which is available on Soundcloud, Apple Music, and Spotify, If you want to stay up to date with Jules you can also find him on Instagram as well as Twitter.

If you want to stay up to date with news and content coming from Nefarious Supply you can find us on Instagram, and Twitter. We also recently opened the Nefarious Supply shop so if you want to support you can show some love here!

Nefarious Supply Release Radar - May 8, 2020

Another weekend is heere which means another week of new music hitting streaming services as artists add bodies of work to their discographies in hopes of providing good music to their fans and grabbing more fans in the process. This past week was a wash with a ton of hot new releases and it was a nice way to start the first weekend of May. While we can’t cover all of the new releases we wanted to show case some of our favorite albums that have dropped this past Friday, as well as start weekly release roundup playlist to keep you guys up to date with the best new music out.

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Kehlani - It Was All Good Until It Wasn’t

Taking the number one slot for the week Kehlani’s newest album is one our favirote releases this week and takes our number one spot for best body of work released this past friday. With a somehwat shaky personal history over the past year one is thing is clear. Kehlani has not let that sway her focus and her ability to make good quality on her new album. Pouring her soul out into her work “It Was All Good Until It Wasn’t” Kehlani is more than authentic and honest not only with her self but with her fans. Sharing a side a of her that is personal. The best thing about this album is that everything works the production flows easily from beginning to end, and the features which include; Tory Lanez, Jhene Aiko, Masego, Lucky Daye, and James Blake all fit in like perfect puzzle pieces to make a body of work that fits in perfectly with Kehlani’s overall artistry.

Nav - Good Intentions

One thing is clear about Nav as much hate as he gets that will not stop him from making decent quality music, and while he may not be the favirote of hip hop heads, Nav’s ability to put out an album and gather the biggest names in the Hip - Hop industry as features should be evidence enough to show he knows that he’s doing. The Canadian rapper-producer keeps him self constantly busy and his work ethic shows throgh on the 15 track album which features production from the brown boy him self, Amir “Cash” Esmailian, and The Weekend. And features guest appercanes from Young Thug, Future, Gunna, Travis Scott, Lil Uzi Vert, Pop Smoke, Don Toliver, and Lil Durk. He stay’s consistent to his sound but that’s what makes the project good, at this point I think fans know what to expect from him, which is a high octance project with some of their favirote names in the industry.

Lil Durk - Just Cause Y’all Waited 2

Lil Durk, Durkio, or whatever name you call him is still one of Chicao’s finest rappers and drill music is the style of hip hop that he has down to the tee. Brining in heavy hitters with his newest project including Lil Baby, Polo G, Gunna, and G Herbo, Durk carries each song effortlesly and showing that no matter how much his name gets entagled with legal trouble he is still focused on his music and his fans are not going to suffer in the process.

Young Thug & Chris Brown - Slime & B

Okay so while no one really asked for a Young Thug and Chris Brown collab project, I gotta say this mix tape is lowkey amazing. This project lowkey flew under everyone’s radar but that does not mean its not worth taking some time to listen to. The project in its self gives off more R&B vibes but both artists are able to do what they do best delivering the best of both their sounds together while working featuring a range of talent including; Major 9, Gunna, Lil Duke, Too $hort, E-40, and Hoody Baby. Slime & B is extremely well put together and is nothing but hits from beginning to end.

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What was your favorite release this week and who did we miss let us know in the comments and while you here be sure to check out our other content which includes interviews with underground artists and much more.

If you want to stay up to date with news and content coming from Nefarious Supply you can find us on Instagram, and Twitter. We also recently opened the Nefarious Supply shop so if you want to support you can show some love here!

Man Alive!: Imagine Sisyphus Happy.

Archy Ivan Marshall; better known as “King Krule” – is a genius.

I think the sentence above sums up what Archy is. He’s been making music since 2010 and hasn’t stopped getting better; first releasing a few singles under his previous moniker: “Zoo Kid” which didn’t fully kick off his career. He released a few EPs here and there that never saw the light of day (which we aren’t going through in this review). Krule stayed relatively underground up until 2013 after releasing his first full-length album: “6 Feet Beneath The Moon”. This is where he found his cozy place within the music stratosphere; a blend of punk, jazz, lo-fi, sleepy RNB and some gnarly guitar solos mixed in.

King Krule’s music speaks to me. As it should to all other angsty 20-year-olds that think they’re cool (which King Krule is, now that I think about it). While visiting my hometown in Egypt a few months ago, a friend of mine had told me to listen to Krule’s second album: “The Ooz”. I had tried listening to Krule a few years ago and decided to revisit his album since it didn’t really sound put together to my ears. Once I started listening to more punk like Dead Kennedys, Algernon Cadwallader and Moss Icon, I began my Krule quest with a clearer idea of the sound he’s going for – and boy does he nail it.

This album though…it’s different in so many ways I don’t think I could list them all. It’s almost like the Myth of Sisyphus: a never-ending, futile struggle of laboring work. However, as Albert Camu (a French philosopher) put it best: imagine Sisyphus happy. The uphill battle is done out of love and appreciation for the enormous amount of artistic integrity, explorative methodology and random sensations of existential dread and blissful euphoria.

I’m going to focus on my favorite songs again on this one since most of the album has made it on my personal playlist. Kicking it off with “Cellular” which was released as a single to quell the anticipation for this album along with “Alone, Omen 3” and “(Don’t Let The Dragon) Draag On”. Cellular is the anthem of this album; reminiscing on past relationships and how he went wrong. The lyrics in this song are incredibly ambiguous and surreal, explaining all the faults and scenarios that split the couple up baked within obscure metaphors about a French girl being stuck in a TV while crying into Krule’s hands. The entire song sounds and feels like a whirlpool of despair; pulling you into the centre where the feeling of isolation peaks, then pushing you back out to put the pieces together and fully comprehend the magnitude of the situation. This song reminds me of “Blood Orange” by Agent Orange; minimal instrumentals, distorted vocals that drift in and out of tempo.

The next song is “Stoned Again” (which has officially become my anthem for the past couple of days). This song is all about losing power; having to depend on a drug to keep you sane based on old habits and a toxic relationship with self-image with a dash of childish humor and (yet again) a sensation of existential dread. Krule goes in more depth on a situation all stoners have gone through; smoking a little too much, pulling some dumb sh*t and getting kicked out of parks, then going back home to calm down from how high you got and doing the same thing a few days later (or the same day, depending on how cool you are). The musical direction this song goes for attempts to pull from stoner metal, while keeping the visceral, slow and grungy distortion very much alive.

The last song I’m reviewing is “Underclass” on the tail end of the album. This is where the entire album does a full 180 in feel: slower tempos, melodic hooks and heartfelt choruses. This tune has some socialist vibes, showing the vast and overwhelming divisions between socio-economic classes while still trying to find love within a broken system. Krule reveals his difficulties with commitment and intimacy, opening up about his relationship with Charlotte Patmore (girlfriend and mother of his child). As the song progresses, Krule comes to the realization that he wouldn’t be the man he is now if it wasn’t for his girlfriend and child, finally finding peace within his cynical view on society and the human state.

Overall, I think everyone that’s even slightly interested in punk or any of its sub-genres to give King Krule a shot; however, I don’t recommend starting with this record. Man Alive! requires a deeper understanding of Krule through his previous works. I think if you want to start with him, you should start with “The Ooz” which dropped in 2017. In particular, listen to “Biscuit Town”, “Dum Surfer”, “Slush Puppy” and “Lonely Blue”. Once you’ve listened to those, it’ll be much easier on the ears to listen to his newest album. All in all, this album deserves a much bigger spotlight. It’s a solid 8/10 in my books and I wouldn’t be surprised if you thought the same.

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ISOLATION STATION EP 1 - Music That Makes You Miss Outside

In this segment we’re giving life to the leagues of music being dropped every week during this trying, yet, interestingly enough, personal time. We at Nefarious Supply want you guys to always have a new underground project or creator, either on your mind, on your playlist, or on your feed in some way, shape or form. In this instance, we’re doing this on an episodic basis and deciding to write on all the new music coming in through this station, five tracks at a time.

Our first episode sees artists like Charlie Monroe and Tromac Pineapple make a comeback into our rotation, as well as Rosery Hills, along with some new contenders, such as Cadeem LaMarr, and the Underdog gang from up in the North.

Let’s dive in. 😈

Dory

Dory is Cadeem LaMarr’s first time on the Nefarious blog, crashing with hard-hitting 808s and bass drums, meshing together for an overall heavy banger. The song features a familiar face within the DMV’s underground scene, Tromac Pineapple, as well as fellow underground artist, Vlad. The lyricism is heavy at certain parts and light on others, however, the flow is always changing the vibe is consistent. The three meld into the veins of the track and ride every change in production like a surfboard to water. We can’t wait to hear more from Cadeem.

Storm

Staying within the streets of the DMV, we check in on Charlie Monroe, a veteran interviewee and an upcoming trap artist in the area. Her new track Storm, Charlie simply has fun and asserts her dominance as an artist and individual within her community. She raps about her wealth, her focus, her apprehensiveness for to much attention, and her need to always secure her bag.

Vibe with You / Takes Two Outro

Rosery Hills slows things down with this sensual and submerged outro, letting the production swell and encompass his voice like a blanket. He sings about a girl and their compatibility, as well as their ability to vibe through everything. The second half of the track strikes and strikes deep. The more staccato-esque beat is only further amalgamated by Rosery’s confident line “To tango girl, it takes two.”, he talks of a summer night, getting drunk, going home with a girl, and I’m sure you know the rest. This is a fan favorite track of ours, by far.

OK

OK is the new track produced by Fabestar and written by Underdog’s heavy hitter, Black$tar, featuring other top UDE dogs, Mayal and Kuya. The three endlessly switch between verses, throwing never-ending, no-look, lyrical alley-oops to the next player. The three swim well in the same pool and dominate the production in their own unique way. It is a light-hearted bouncy, head-bopper that makes you wanna move.

Highway

Highway is much less a song, and more so just beautiful production. The beat was created by beatsbycryptic and houses instruments such as 808s, violin, what seems to be a sitar-esque string instrument being plucked and many more. The melody, undertone, and beat production are amazing and deserves to be on the list purely off of its infectiousness alone. Be sure to hear more from beatsbycryptic on our blog!

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[MYMHM 1] Saint Lyor - IF MY SINS COULD TALK

With the hustle and bustle of everyday life and the new constraints and anxieties that courses through society today, it’s easy for you to overlook certain things. Well, we here at Nefarious Supply are here to make sure your dose of underground music isn’t one of them. Here with a new segment, Music You May Have Missed, the NS team thought of recapping enticing talent that we did not get a chance to cover the previous content cycles, making sure we get every single ounce of brilliance we can out for our followers.

Our first project on this segment comes from none other than our friends over at Van Buren Records! Straight out of Brockton, Massachusetts, Van Buren’s wildcard Saint Lyor dropped his debut album, IF MY SINS COULD TALK” in early March. The freshman album stores Lyor’s takes on life, love, passion, pain, heartbreak, hunger for success, and may have answered the lifelong question that was just addressed not even two days ago by the CIA.

Are UFO’s real?

We’ll find out in our review of the LP below, enjoy! 😈

Big Facts

Coming in strong with a heavy-hitting 808, a murky melody, and perfectly-timed beat, Saint Lyor slides on the beat like butter on toast, riding out the gate with a lyrical flag, letting everyone know he is not an artist to play with. Big Facts speaks on topics of status, success, failure, lost love and friendships, and religion, all over an in-your-face opening track.

Gossip

Lyor seems to glide from dark production to light-hearted melodies and a funky 808 subtly reverberating underneasth. Gossip is Saint Lyor’s outcry against fake friends, fake love, false claims, and mock appreciation. He starts the track off by stating “No I’m not, what you thought I was…” a clear and concise summary of this track’s main message. Don’t speak on anything you don’t know about. Be allergic to it. Stay in your lane, and please don’t gossip, ust as Lyor’s mother has told him time and time again.

FBI (Interlude)

This interlude starts with a voice recording of Lyor’s mother, who seems to not be too happy with his actions, however, basically states that as he makes his bed so he will lie in it, and the VB artist knows that very well. FBI is Saint Lyor’s acclamation of faith in himself as an individual and an artist, a reminder to himself that he is all that he claims he is, the groovy production underneath his raw lyricism prove this all the more.

Aunt Jemima

Probably our favorite track on the album, Aunt Jemima is Saint Lyor’s blockbuster track. With a cyberspace-esque melody overtop a heavy 808 and hard-hitting beat embedded underneath, Lyor goes in and has fun with it, effortlessly switching his flow, to and fro in order to accomodate for the bars spitting from his lips. The chorus is absolutely addicting and hits with the beat in a synchronicity that is almost enviable. Aunt Jemima was one of the singles Lyor released before its official position on the album.

Finsta

Finsta is a more grounded addition to our tracklist. On the xylophone-like melody and swelling production underneath, Saint Lyor speaks on the dangers of the unknown when it comes to those around him, the color of his skin, and its everyday complications within society today, as well as some flaunty bars sprinkled every other cadence. Finsta is definitely a favorite amongst fans.

Sweet

Sweet is the sixth track on the LP and showcases Lyor’s rapping ability yet again, signifying this far into the album, that his flows, lyricism, and creativity are as versatile as his beats are. Sweet is weighed with topics of capitalism, haters, the need for success, past trauma, and the names of his two friends, Zack and Cody. Sweet is a subtle yet serrated track.

LESS FRIENDS MORE BANDZ (ft. Luke Bar$)

The first song with a feature on the album, LESS FRIENDS MORE BANDZ has Lyor and his fellow VB comrade Luke Bar$ playing tennis with the various flow switches by Lyor, the expressive and morbidly passionate chorus, to the up-pitched lyrical domination that is Bar$ verse, the song goes to remind those who do him wrong that Lyor isn’t in the department for friends anyway.

Wifey

Wifey is kind of a self-explanatory track, in which Saint Lyor details all that he dreams of in a woman, everything he’s willing to give her, everything he’s peeped about the woman he’s with, the lies, the conniving attitude, the love, the toxicity on both sides, cheating, and to sum it up, all the ups and downs that come with being in a relationship you are not ready for, whilst adding a dash of self-serving, confident bars.

Aliens Exist

Looks like the question has been answered. Aliens indeed do exist with the addition of this mellow banger. On the track Saint Lyor alludes himself to an alien in a world not his own and understanding that fitting in isn’t always the best thing for you to grow. Instead, it’s realizing what makes him different that gives him the confidence to see himself above the competition. Those who see what he does look at him as if he’s alien because no one is doing what Saint Lyor is doing, how Saint Lyor is doing it.

This Is Not an Image

Another fan favorite and second-to-last track on the album, This Is Not an Image is Saint Lyor’s late-night vibe track on this project. Out the gate, Lyor alludes to his African culture by declining any fufu (an expression for stupid, also an African cuisine) in his pictures. Lyor spits Drake-like bars over a resonating 808 with well-timed hi-hats. He ends the track with a reality-checking sample. “I am not good, nor is any man who claims to be.”

SINNERMAN (Outro)

SINNERMAN is the final song on Saint Lyor’s IF MY SINS COULD TALK. The flute-like, high-synth melody soars across the ever-endorsing 808 below mesh like peanut butter and jelly with Lyor’s flows and introspective lyrical content. Lyor still doesn’t know who to trust, strives to be better than those who were supposed to be for him, acknowledges himself as only a sinner, and a man, and how success can ruin the dream you had to get there. SINNERMAN is the most Saint Lyor looks in the mirror and the hardest whatever he sees in himself stares back.

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If you enjoyed this review of Saint Lyor’s IF MY SINS COULD TALK, and want to reach out and show love, you can find him on Instagram as well as Twitter. Be on the lookout for more heat from him soon!

If you want to stay up to date with news and content coming from Nefarious Supply you can find us on Instagram, and Twitter. We also recently opened the Nefarious Supply shop so if you want to support you can show some love here!

100Graham - Underground King

100Graham bro welcome to Nefarious Supply, it’s been a while since we had a producer on so we’re really excited to get you on! So just to get the interview started give us some background on yourself?

Thanks for having me. I go by 100graham, I am an 18 year old producer out of Dallas. I primarily make hip hop and RnB beats. I have been producing for about 3 years. I grew up playing the guitar and then started messing around on an iPhone app in middle school and fell in love with production. I got a computer during my sophomore year of high school and started making beats. After about 2 years of producing, I started reaching out to artists trying to get someone to rap on my beats. I had some success so last August I started branding myself as 100graham and since then I have gotten to work with a lot of artists and producers from all over the country. Hopefully I keep growing and can keep making more and more music in the future.

I see from your Instagram bio that you’re from Dallas. So tell us how this area has influenced you, and your production style? 

I love living here but i wouldn't say it has really influenced my music much. I don't think my sound is really specific to one place. I am more influenced by different artists and producers that I listen to. I haven’t really noticed yet that Dallas has a signature sound like Toronto or Atlanta does.

How’s the underground scene like out there and what are some local artists that you have worked with?

Honestly, I really don’t know many artists around me. I do all my networking through social media and I haven't come across many artists who are local. Mvkeyyj is probably the only artist  I listen to that is in Dallas. I would say that most of the artists I work with are from Florida. Everytime I make a song with someone in Florida I meet someone new through it. After working with Apollo1027 I got connected with Freddy Leone, Juslo, Identification, whoisgldn, and Bachi. There are a lot of great artists out there and they all seem to be connected. As for all the other artists I have worked with, they are pretty scattered. I'm always looking for new artists so hopefully I will find some in Dallas that I like.

Who are some of your favorite artists and producers right now and how have they influenced your production style?

Some of my favorite artists right now are Apollo1027, Joey Vantes, and TheHxliday. All three of them are very melodic and are great at making catchy hooks. Most the beats I make are similar to the kinds of production they would hop on. I make a lot of upbeat, melodic, tropical beats. Joey Vantes has always been one of my favorite artists so I have always made beats similar to his style. My favorite producer is Nick Mira because he is so versatile. He has inspired my production a ton because he is one of the best hip hop producers in the world but he can do more than just make hip hop beats. After seeing him produce pop records Alec Whigdahl and TyFontaine, I started experimenting with different genres and it has made me a more versatile producer. He is also one of my main inspirations when making melodies and his workflow is super fast which is something I want to get better at. 

What is your go to DAW, and what are some of the of the tools you use during production

I use Logic X Pro. I had a friend tell me about it before I even knew about other daws so I went ahead and downloaded it. I really like Logic because the interface is really simple in my opinion. I run all my sounds through a vst sampler called Iris 2. It makes it really easy for me to modify my drum sounds quickly. My go to plugin is Omnisphere because I love the arpeggios and the bases but I also use halftime and dumpster fire a lot. As for my drums, I have been collecting a library of drums from over the years through other drum kits. I usually go through a drum kit and pick out the drums I like and keep those. I feel like it is really important to narrow down on your drums because it can help distinguish you from other producers. Some of my favorite drums are from an Iphone app called beatmaker 2 that I used to use a long time ago. When I make melodies, I usually use one shot kits such as the Based1 and Pilgrim kits. I recently got an audio interface from Native Instruments which has allowed me to make some live guitar loops. I also use Native Instrament’s Guitar Rig for effects when recording guitar. I use mostly stock plug ins because when I was getting started i didn't want to spend much money but now I have gotten pretty good at manipulating the stock plug-ins so I don't feel the need to buy many new ones.

So looking over your credits you’ve worked with Coop, Apollo1027,  and seni. So how do you meet the clients you work?

So me and Coop know each other because our parents are friends. He is a young artist out of Oklahoma. We linked last summer not really knowing much about each other but since then we have been putting out a ton of music together. I sent him some beats after we met and he loved them so I just kept sending him stuff. He is constantly working on new music and He is one of the best writers I have ever heard. The progress he has had in just this last year is crazy and he is only going to continue to get better. We have a lot of great music coming out soon.

 Apollo1027 is definitely one of my favorite artists I have ever worked with. I came across his music because someone I was following reposted a slowed down version of one of his songs on soundcloud. I loved the song so I went and checked out the original and fell in love with his music. At that time I think he only had about 3 songs out. I sent him some beats and he replied and told me he loved them. I kept sending him more and one day he sent me  4 tracks out of nowhere all on my beats. The first one I listened to was D.N.A which made it onto his project, Summer Solstice. It is still my favorite song I have ever produced because it has so much energy and was the first time I had heard an artist that I frequently listened to use my beats. I had 3 other beats make the project, Birthday, Grave, and Under My Skin. Every single one of them turned out amazing. I continued to send him more and more stuff and got to produce Da Vinci and Prada Plexi on his most recent album, 1027. Just the other day he sent me a couple new songs and it is definitely some of the best work he has done to date. Definitely be on the lookout for some great music from him. 

Seni was one of the first artists to release a song with my beat. He was already one of my favorite artists before I even started reaching out to him. I heard his song Summer 365 on Soundcloud and have been listening to everything he has put out since. He had posted some snippets of our song called Back 2 Back but I never knew when he would drop it. One morning I woke up and checked my phone and my twitter was going crazy because he had just dropped it. I feel like that was the start to me trying to get my beats out there. 

What are some things you look for before you continue anything?

When I am looking for an artist to work with, the first thing I look for is beat selection. I like to work with artists who have high standards for music because those are the ones that make the best songs. If the artist is good but all the beats they use are trash, I just move on. There are a lot of good artists but I only reach out to people that really wow me. Even if they only have one song that is really good, that shows that they have the capability to make great music. I prefer to work with people who are really melodic and can sing. Every week I spend some time diving into playlists and scrolling through soundcloud trying to find an artist that I really like. Every once in a while I will find an amazing artist that I’d like to work with.

So what’s next for you in 2020?

Once the summer hits, I am going to have a ton of music coming out for the rest of the year. I have a super chill beat tape coming out with my bro Blaine Stephens. I also have a producer single with 3 super talented artists coming out soon. I did a lot of networking at the beginning of the year so hopefully all those songs will get released toward the end of the year. I am also going to be giving away some free stuff for producers. I’m hoping to keep finding new artists to build with and just put out as much music as possible.

Any last words?

Thank you Nefarious Supply for letting me be a part of this. Check me out on instagram @100grahambeats. I am always looking for producers and rappers to work with so hit me up and be on the lookout for a ton of new music soon!

100graham

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Big shout out to 100Graham for interviewing with Nefarious Supply and showing off some of his production work as well as to talk about his self. If you enjoyed this interview with him and want to work within you can find him on Instagram as well as Twitter. Be on the lookout for more heat from him soon!

If you want to stay up to date with news and content coming from Nefarious Supply you can find us on Instagram, and Twitter. We also recently opened the Nefarious Supply shop so if you want to support you can show some love here!

AMAKA QUEENETTE - "Fleeting, Inconsequential”

On August 9, 2019, Tomboy Records introduced alternative R&B artist Amaka Queenette to Toronto with an amazing live showcase, 'Gestalt' at Lee's Palace. Hailing from Pickering, Ontario, 20 year old Amaka Queenette's genre-defying style is a breath of fresh air. Her thoughtful lyrics and her textured vocals work together to evoke feelings of nostalgia. Amaka’s music reminds you that often melancholy and contentment come from the same source. Amaka Queenette is back to release her visually captivating EP, "Fleeting, Inconsequential”. This project is a follow-up to her debut EP, “Vacant” released in 2018. Teamed up with executive producer, Joshua Stanberry and with collaboration from contemporary R&B guitarist, Justice Der, Amaka has created a wistful, soulful soundscape that is in a lane of its own. Check out Amaka Queenette’s new newest body of work “Fleeting, Inconsequential” which is available now!

Amaka Queenette · Fleeting, Inconsequential

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