Tag: Freddie Gibbs

Turkish production duo Artz & Bugy are chief architects of their homeland’s burgeoning hip-hop scene, having built the template for Turkey’s biggest rapper Ezhel on his full-length debut, 2017’s Müptezhel. Since Müptezhel‘s release, have further established an eclectic sound and style, which reveals their ability to infuse rap production with elements of trap, reggaeton and Afrobeat.

The duo are superstars in their native Turkey. And for the duo, two important question was left hanging over their heads: “What’s left? What’s next?” Well for the Turkish production duo, it turns out that — well, a lot is left and a lot is next. “There have been a few producers handling popular albums in the Turkish rap scene, and I made one of them. It was very successful from my point of view,” explains Artz. “That success afforded us so much power, plus the capacity and the potential to dream up ideas we couldn’t even think of before. Now, we ask ourselves, ‘Why not? Why limit ourselves to home?”

With their recently released debut EP We Survive, Artz & Bugy have set out to make a global effort that illustrates and celebrates their Turkish roots while adapting their styles to create familiar ecosystems for the artists they recruited and worked with. The EP features guest spots from Jamaican dancehall artist BEAM (FKA Tyshane), Detroit‘s finest Royce da 5’9.” Ezhel, and Grammy-nominated emcee Freddie Gibbs, which should prove that the duo can craft beats for a diverse and eclectic array of artists and styles. For the duo, the EP is an introduction to the larger world and a love letter to the hip-hop they grew up idolizing — and are now shaping in their own image.

EP single “War Zone” sees the rising, Turkish production duo teaming up with the aforementioned Freddie Gibbs. Gangsta Gibbs’ self-assured, dense and intricate bars full of braggadocio and street shit is paired with a menacing and uneasy production centered around twinkling and arpeggiated key, skittering trap beats and tweeter and woofer rocking low end. Simply put, this track is fucking flames. So, when will the trio collaborate on an album or something, huh?

Working with an American superstar like Freddie Gibbs wasn’t lost on the duo. While such a momentous get was something that they were one day picturing accomplishing, it’s surreal for them to hear one of the dopest emcees in the world spitting bars over their beats. “A couple years ago we were imagining what sort of beat we would be making for Freddie Gibbs,” Bugy explains. “When we got the chance, we just jumped on it, and he killed his part too.”

New Video: Freddie Gibbs and Madlib Announce Their Long-Awaited Second Collaborative Album and Release a Cinematic Visual for “Crime Pays”

Born Fredrick Jamel Tipton, the Gary, IN-born emcee and JOVM mainstay Freddie Gibbs initially signed with Interscope Records in 2006 and after recording his full-length debut with the label, the Gary, IN-born emcee was dropped as a result of the label’s management changing hands — and the album was subsequently shelved; however, with the release of 2009’s The Miseducation of Freddie Gibbs, a prolific series of mixtapes and his 2013’s full-length debut ESGN (Evil Seeds Grow Naturally), Gibbs quickly established a reputation for being a talented lyricist and narrative-based storyteller with an imitable, gruff flow. 

Gibbs’ work largely focuses on street shit and hustling but unlike most of his peers, who take on exaggerated, superhuman personas and describe tales in which their heroes always win, Gibbs pulls the showbiz curtains aside with a frank and unvarnished honesty and realism. His characters inhabit a world much like own, full of gritty, almost Darwinistic struggles in which men and women do evil things to others to get by, fully aware of the fact that they’re paving roads to their own unique, fucked up hell.  And as a result, the Gary, IN-born JOVM mainstay became a go-to collaborator, working with an impressive list of artists and producers including Young Jeezy, Juicy J, Philadelphia Freeway, Dom Kennedy, J.U.S.T.I.C.E. League, Big K.R.I.T., Cardo, DJ Burn One, Speakerbomb, Block Beattaz, Beatnick and K-Salaam, Chip tha Ripper, The Cool Kids‘ Chuck Inglish and Mikey Rocks, Krayzie Bone, SpaceGhostPurrp, Jadakiss, Kirko Bangz, Jay Rock, Curren$y and others. 

Five years ago, Gibbs teamed up with Madlib, arguably one of hip-hop’s dopest, most inventive and prolific producers on the critically and commercially successful Piñata, which landed at #38 on the Billboard 200 and number seven on the US Top Rap Albums Charts. At the time of its release, I compared Piñata to Small Professor’s and Guilty Simpson’s collaboration Highway Robbery as both albums were the result of a shared artistic vision that channelled golden era hip hop.

In 2016 Madlib announced that he would be working with Madlib on their second album together Bandana, and that many of the rejected beats he auditioned for Kanye West’s The Life of Pablo would appear on the new album. Gibbs and his manager later confirmed that on Twitter. During that same period, the Gary, IN-born JOVM mainstay was busy with the release of his third solo album, 2017’s You Only Live 2wice and last year’s Fetti, a collaborative album with Curren$y.

Interestingly, three years after its initial announcement, the long-awaited Bandana is slated for a June 28, 2019 release through Keep Cool Records, RCA Records, Madlib Invazion and ESGN. Earlier this year, Gibbs and Madlib released Bandana’s first single, the album title track “Bandana,” which featured dancehall artist Assassin. Bandana’s second and latest single “Crime Pays” is centered around a Roy Ayers-like shimmering, old-school 70s jazz soul sample and Gibbs gruff and imitable baritone dexterously rhyming about the street shit and hustling that he’s well-known for, but underneath that is the bitter recognition that you can roll the dice so many times before hitting snake eyes at some point. 

Directed by Nick Walker, and starring Gibbs as himself, Zoe Neal as Farm Girl, John Pistone as Farm Guy 1, Mazen Shehabi as Farm Guy 2 and Benedikt Sebastian, the recently released video for “Crime Pays” is set on a farm in the seemingly fiction Mt. Kane. Gibbs’ character is a farm owner, who owns a massive property with three male helpers, who he cajoles and chides endlessly for being lazy, slow, stupid and so on. In fact, Gibbs’ character is so rich that he owns horses and zebras — but the video slowly reveals that they’re running a drug scheme that involves stashing loads of drugs in hay for delivery and distribution elsewhere. Gangster as fuck, indeed. 


With the release of her mixtape Eleven Roses and her breakout 2012 full-length debut Til the Casket Drops, which featured collaborations with Kendrick Lamar and Freddie Gibbs, singer/songwriter multi-instrumentalist ZZ Ward quickly received praise from major media outlets like Rolling StoneGuitar WorldElle and Interview Magazine for pop anthems that meshed the blues and hip hop. Adding to a growing profile, Ward made national television appearances on Jimmy Kimmel Live!ConanGood Morning AmericaThe Tonight ShowThe View and others. Along with that, she’s toured with Eric Clapton, Gary Clark, Jr., and Fitz and The Tantrums, as well as played sets at Coachella, Bonnaroo, Firefly, Made in America and others. I also should add that “Put The Gun Down,” which has received more than 7.4 million streams was featured in the major motion picture We’re The Millers.

Now, it’s been a while since I’ve written about Ward, but as it turns out, along with a busy touring schedule, the renowned multi-instrumentalist and singer/songwriter had been busy writing the material that would eventually comprise her forthcoming (and long-awaited) sophomore effort The Storm, which is slated for a June 30, 2017 release. The album’s latest single “Help Me Mama” is a strutting and swaggering track that pairs Ward’s powerhouse and soulful vocals with stomping and bluesy production consisting of strummed acoustic guitar, tweeter and woofer rocking low end, twinkling piano, whirring synths and electronics, and an rousingly anthemic hook in a song that’s rooted around viscerally candid personal revelations. Naturally, the single will further cement Ward’s reputation for crafting deeply personal, sultry and anthemic pop with a blues meets hip-hop swagger in a way that nods at Amy Winehouse, Hannah Williams and others — and perhaps more important for that impressive voice. Simply put, girl can sang.

Ward will be on tour throughout June and it includes a June 14, 2017 stop at Le Poisson Rouge. And then during the fall, Ward will join Icelandic rock at Kaleo for a series of Stateside dates. Check out the tour dates below.

Tour Dates
May 31, 2017 Chicago, IL Lincoln Hall
June 2, 2017 Minneapolis, MN Fine Line Music Cafe
June 3, 2017 Denver, CO Bluebird
June 8, 2017 San Francisco, CA The Independent
June 9, 2017 Los Angeles, CA The Roxy
June 11, 2017 San Diego, CA Belly Up
June 14, 2017 New York, NY Le Poisson Rouge
June 20, 2017 Austin, TX The Parish
June 21, 2017 Dallas, TX The Kessler
June 22, 2017 Nashville, TN 3rd and Lindsley
October 2, 2017 Houston, TX Revention Music Center **
October 4, 2017 Kansas City, MO The Mid **
October 7, 2017 Madison, WI Orpheum Theatre **
October 16, 2017 Boston, MA House of Blues **
October 20, 2017 Wallingford, CT The Dome at Oakdale Theatre **
**Dates supporting Kaleo


Over the past couple of months I’ve been experimenting with a monthly Spotify playlist that covers the songs I’ve reviewed over the course of the past month, along with the songs I’ve referenced. And although some songs almost always seem to be missing during the initial compilation, I think it still manages to be a fairly comprehensive look at the past month on JOVM. (Just an early world, December will be pretty interesting as there will be a monthly playlist and I will be doing a Best of List primarily through Spotify as an additional experiment. But we’re jumping ahead here.)

November’s playlist continues the eclectic and tasteful curation that this site has long been known for and includes Aroc!‘s collaborations with Eric Bellinger, the gorgeous sounds of Floating Points, the socially conscious psych rock of Brazilian superstars Boogarins, JOVM mainstays Rene Lopez, Escort, Shabaam Sahdeeq, Pr0files, White Reaper, Beacon, New Order and Freddie Gibbs and others among a lengthy list. You’ll catch new singles from the Houston, TX-born, New York-based indie soul artist Melany Watson, several singles off Coke Weed‘s excellent Mary Weaver, two singles off The Giraffes kick ass, stoner rock album Usury, a new single from Swedish psych rock sensation Caviare Days, anthemic singles from Brandi Carlile‘s powerhouse country album, The Firewatcher’s Daughter and Canadian trio Red Moon Road, a few singles off Neon Indian‘s club-friendly VEGA Intl. Night School and more. There’s quite a bit of funk on this list as I make references to The Whispers, The Gap Band, Kool and the Gang, Chic, Rick James, and others. And there’s quite of synth pop including Tears For Fears, Depeche Mode, The Human League and more.  Check it out and tell your friends while you’re at it!

New Audio: Madlib, Freddie Gibbs, Action Broson, Joey Bada$$, and Ransom Team Up on Some Dopeness on “Knicks (Remix)”

Soundcloud is an amazing place for a blogger. i’ve mentioned this on several occasions but while scanning tracks for consideration for JOVM, i’m good for multi-multi-tasking: listening to tracks while watching Yankees, Rangers, Giants, Nets […]