Gucci Mane has had an eventful 2016 and all of it is capped off with the release of his fifth album this year The Return of East Atlanta Santa. Coming off of the two collaborative efforts the first with Future (on the Free Bricks 2k16: Zone 6 Edition) and Lil Yachty (on 1017 vs. The World) this is the Atlanta rapper’s third solo project this year. Boosting features from Bryson Tiller, Drake and Travis Scott, this is the third installment of the ‘East Atlanta Santa’ series. Let’s be honest here, none of us are checking for Gucci Mane to get conscious bars, because it’s all about the turn up. It’s about Gucci Mane being Gucci over some heaters. While credits for the production hasn’t come out yet, we do know that Metro Boomin’ has at least a beat on here. 13 tracks deep, Gucci delivers yet again on the holiday album we all really want this season. The Return of East Atlanta Santa actually has my favorite joint in the opening with ‘St. Brick Intro,’ sampling Jingle Bells, Gucci Mane fit this beat like a glove. Even more, the East Atlanta Santa dropped visuals for this joint. I do think Gucci could’ve used a couple more guest appearances on this, because as you get about halfway through, a lot of the songs start to sound the same. I won’t use this against the release, but with the guests he did get, it added enough flavor to the music that I didn’t feel like I was listening to the same song 13 times. Like I said Gucci brought Drake, Travis Scott and Bryson Tiller along with him on this Christmas journey and I think all of them came correct….except for Drake. On “Both,” Drake sings the hook talking about being both drunk and high at the same and on the low and it made a brother cringe. The verse was even worse. “Shout out Yachty, but this ain’t a Lil Boat." Come on Drake, you’re better than that. No, I wasn’t expecting a triple A verse from the rapper, but it really did sound like Drake just phoned this verse in. Also for those keeping score I think Bryson Tiller and Gucci sounded great together and hopefully we get more collabs from those two in the future. Despite my criticisms though, The Return of East Atlanta Santa is about laying down a mood, it’s not about having the hardest bars or even the hardest beats for that matter. I think when Gucci dropped the visuals for "St. Brick Intro," it set the tone for what Gucci was going for. That being said, grab your homies, because Gucci wants you to bring in the holidays ‘East Atlanta’ style. Listen to the project here via Apple Music.For more music content like this, sign up for Blavity's daily...
Tis the season for music festivals, and in between Governors Ball and Bonnaroo, fans have been getting their fix of today's biggest artists. Chance the Rapper tweeted that although he wasn't performing, he would be writing a piece about the festival for one of his favorite publications.
I'll be at #Bonnaroo again this year, but this time I'll doing a write up for a publication I admire and revere. Can't wait. ✍🏾
— Lil Chano From 79th (@chancetherapper) June 9, 2016
Despite not being on the list of performers for the weekend, Chance made an appearance to perform "No Problem" during both J. Cole and Bryson Tiller's sets – and it was lit!
Check out a few clips from the performances below:
That time my girlfriend meets @chancetherapper and then he crashes @JColeNC's @bonnaroo set. Amazing. #bonnaroo2016 pic.twitter.com/5HNf9hugIj
— Spencer Dukoff (@SpencerDukoff) June 11, 2016
A video posted by @utorlive on Jun 10, 2016 at 8:29pm PDT
Shout out to @chancetherapper for popping out at @brysontiller show pic.twitter.com/QdLgqhk1pE
— dylan (@dluzthegoat) June 11, 2016
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After teasing fans on Instagram with sneak peaks of the beautifully shot visual directed by Rohan Blair-Mangat, Bryson Tiller has finally dropped video for his fan-favorite single, "Exchange."
When he teased it on Instagram in a photo which read "Pen Affleck in She's Got My Soul," many fans thought that he was possibly gearing up for his sophomore album, but we'll take a second video from the TRAPSOUL era anyway!
Share this video with your friends on Facebook or Twitter!
READ NEXT: Why Bryson Tiller’s ‘TRAPSOUL’ is a must-see...
Sometimes you've got to take that L! Whether you just got turned down by your crush, declined for that dream job, or you had your goals brushed off by someone who's approval you covet, nothing stings quite like the savagery of rejection. We've all been there, and although no one likes being slept on, there's nothing better than the epic glo' up in the face of your naysayers to soothe a bruised ego. Front like you're above it if you want to, these hip-hop and R&B songs prove that you're never too mature to twirl on 'em. Check out this cure-all revenge playlist below.
1. Drake – "How About Now"
Drake's reputation for being all nuzzled up in his feelings is on full display on this track as he dangles his superstar status before his ex-girl.
"Cause I'm up right now and you stuck right now. You thought you had it all figured out back then girl, how 'bout now?"
2. Mariah Carey – "Someday"
In this '90s throwback, a young Mariah predicts the forthcoming regret that her childhood boy crush will have once she grows into a Supernova.
"Don't come back crying/You should have known."
3. Mike Jones – "Back Then"
You can keep your clever word play, Mike Jones gets straight to the point with no chaser.
"Back then they didn't want me, now I'm hot they all on me"
4. Chris Brown – "Look At Me Now"
In a bold career resurrecting move, Breezy came hard with this taunt to his critics. The title says it all.
5. Jay-Z – "Lost One"
If ever Hov feels the need to lead with, "It's not a diss song, it's just a real song," just prepare to get owned.
6. Beyoncé – "Best Thing I Never Had"
Oh, you thought Bey wouldn't freestyle on you, boo? You know the shade is real when you take time out of your wedding day to shut someone down.
"Thank God you blew it. Thank God I dodged the bullet. I'm so over you, baby good lookin' out."
7. Anthony Hamilton – "I Did it Fo Sho'"
In a thorough and comprehensive down-in-the-gutter read, your boy A. Ham presents his ex with itemized receipts for the luxuriation he is currently bestowing upon his new boo.
"All the trips abroad, maxed out credit cards, throwing down at Mr Chows — I did it for sho."
8. Destiny's Child – "So Good"
The ladies of DC see no need to be coy.
"All the things I'm doing that you thought I never could, I want you to know that I'm doing so good."
9. Meek Mill – "Flexin On 'Em"
That good ole' fashioned lifestyle flex to "stunt and style on 'em."
10. Drake and Soulja Boy – "We Made It"
In this 2013 track, Drake and Soulja Boy rub it in like lotion for that ash.
"My life for your life, man I wouldn't trade it. I would just look at you dead in yo' face and say, you know we made it!"
11. Bryson Tiller – "Sorry Not Sorry"
If you weren't checking for him back then, Bryson is not here for it.
"Now you done switched up on me. Now you wanna say what's up to me?"
If we're being honest, we have all been on the giving and receiving ends of rejection, so although you're singing your revenge playlist all overly aggressive and extra-animated, just know that someone somewhere is dedicating a mental shout-out to you.
Let's hear it #BlavityFam – what's your favorite revenge song? Share your selections with us in the comments.
READ NEXT: Why Bryson Tiller’s ‘TRAPSOUL’ is a must-see...
#ConcertSZN is very much in full effect. Although several artists such as Beyoncé, Rihanna and Future have big tours kicking off soon, my season started with industry newcomer, Bryson Tiller. I saw Tiller at his stop in Charlotte, N.C. at The Filmore.
I’ve seen a description of Tiller as “if Drake’s singing voice were a solo artist.” I’d agree, but would say his voice is better. His music perfectly strides the fence between rapper/singer and between R&B/hip-hop — the textbook definition of the 'rapping singer.' His debut album, aptly titled, T R A P S O U L, brings all of this to fruition. It was one of the standout albums of 2015 and is one of the few albums that I can listen to almost completely through with no skips.
It wasn't long after the opening act's exit when Tiller made his way to the stage. The concert’s vibe was very similar to the feeling you get when listening to the album — tons of smoke with red, blue and gray ambient lights.
After beginning the night with album openers “Intro (Difference)” and “Let Em' Know,” the Filmore was already rocking with him. If this spot was anything to go by, Tiller definitely uses the show as a chance to make this an experience of feeling like you are getting to know him, as conventional as his “Charlotte, what’s up?” greeting was. Next, he performed the songs “Set You Free,” and “For However Long,” before stopping for a moment to talk about his journey thus far.
He discussed how his life has changed in the past year, particularly after dropping the track “Don’t.” Tiller said that he would check his SoundCloud views on his phone while on break working at Papa John’s and would be astounded by the number of plays the song was getting. He was used to getting 100 or 200 plays, but this one was acquiring thousands. Shortly after, he was contacted by Timbaland, who wanted him to come to Miami. At the time, Tiller was concerned about his job at Papa John's and working, but Timbaland convinced him to quit his job. He also described his feelings when someone messaged him on Twitter and let him know that Drake had followed him. “I was like 'oh my God,' my heart started beating all fast...I typed 40 different messages to him,” said Tiller. Drake told him that he was a fan of “Don’t” and couldn’t wait to hear his new music.
T R A P S O U L pic.twitter.com/yEQWXywJGk
— Trey Mangum (@treymangum) February 18, 2016
He then performed the song “Ten Nine Fourteen,” which talks about his ascent to fame, followed by the fan-favorite, “Exchange,” tailoring one of his lines to the location, singing, “Charlotte, I had to say what’s up with you? You got my soul.”
Next came “Sorry Not Sorry,” another fan favorite, “Rambo,” which featured a crazy drum solo and “502 Come Up.” Things slowed down with “Open Interlude,” “The Sequence,” “Overtime,” “Just Another Interlude,” and “Been That Way.”
A video posted by Power 98 WPEG (@power98fm) on Feb 17, 2016 at 6:30pm PST
Finally, the moment of the night came when he performed his hit single, “Don’t.” He barely had to sing the lyrics himself, or if he did, I couldn’t hear as the crowd took over the song for him, singing along to every part. He then concluded the night with “Right My Wrongs.”
There were no glaring vocal mishaps at all. A live Tiller sounds spot on to his studio recordings, if not crisper. The crowd interactions and storytelling definitely gave me as feeling that I was getting an “experience” and wasn’t just being sung to by a singer. The whole show further reaffirmed the story of Tiller’s rise to stardom, making you want to see his success continue to push him to the top.
If you would like to catch Tiller for one of the next T R A P S O U L tour stops, there are dates left in numerous cities across the country and it will go on an international trek soon. You won’t be disappointed.
What show are you starting your concert season with? Let us know in the comments below!
READ NEXT: Bryson Tiller is the R&B rapper we've been waiting...
Bryson Tiller’s Trapsoul might have had the most important album name in contemporary youth culture. It was released in October on RCA Records. Can trap and soul music, considered opposites, be combined into 14 songs on the same album? Especially into a song entitled “Right My Wrongs?” Soul could certainly gain from Trap’s understanding of youth. Trap can certainly learn to progress from Soul. Tiller has made soul out of trap and has offered our culture a tool for betterment.
Both Trap and Soul were born in the urban South as musical outgrowths of everyday living. Soul was born to both the Southern Christian mentality and to the Southern progressive social thought. Trap was born out of gang culture and both business and musical ingenuity. Trap goes a long way back in southern music. Goodie Mob used the word trap in the 1995 song “Thought Process,” which was about being down and out. Would a classic soul singer such as Isaac Hayes even like Trap music? Hayes certainly wouldn’t just push Trap away. It is an important mix of genres. They seem to be opposites, but one can imagine instances where both could have everything to do with a Southerner’s everyday life. Thus the adage that “we’re all just human.” Tiller might be telling us that those who participate in trap have souls, and these 14 songs are proof. Tiller might also be asking those who participate in Trap to consider their souls. Regardless, Tiller is mixing two potent genres of music into a call for introspection at time when it is in dire need.
Conceptually, it is at the vanguard of its time. Musical-direction-wise, it's good but nothing mind blowing. Unlike Drake, Tiller does not surprise with beat choice. Lyrics-wise it's also nothing innovative, it's just a good version of what already exists. The album is well-made, clear, and is melodic. It stresses melody and rhythm more than anything. Tiller’s grasp of melody is what makes this album a good weekend listen. In terms of rhythm, he seems to not be able to choose what will bang or explode. He sings us what sounds like contemporary city life the whole way, with an amount of introspection that is extremely pleasing.
The album’s music and visuals feel closer to contemporary R&B culture than it does to Trap or even to Soul — but it is both. Most of the songs are about the bitter side of love and living through that. Perhaps the only song that O.V. Wright would sing would be “Right My Wrongs.” Tiller’s introspections are, to paraphrase James Baldwin, “things that we cannot fix until we face them.” Very little of Tiller’s songs have anything to do lyrically with Trap. It's very behind in terms of Trap musical direction. Trap seeks recklessly to innovate. Gucci Mane and Young Jeezy’s first explorations in the genre are now the past. Musicians such as Fetty Wap and Future have exploded any sort of standard that Gucci Mane’s album Trap House wanted to set. Perhaps Tiller made some concessions in order to mix the two.
Tiller’s background is neither a traditional soul musician’s or a trap musician's. However, any artist is free to choose whatever category his music belongs to. Bryson Tiller’s very popular music mixes two commercial genres into an album with serious cultural significance. It’s also the thought that counts. Him wanting to make soul out of Trap culture — a progressive stance — deserves an ovation.
Emanuel Adolf Alzuphar is a music critic. He attended the George Washington University. His twitter is...
Hailing from Louisville, Kentucky, Bryson Tiller is hip-hop’s newest R&B rapper. Following his 2011 mixtape, KILLER INSTINCT VOL 1, Tiller just dropped his first full-length album on Oct 2nd.
Filled with sultry, smooth and polished sounds, Tiller’s debut album, T R A P S O U L, is an incredible start for the rising artist. Captured in the album name, the record is a perfect blend of melody, vocal harmonies and trap drums. With all of those musical elements combined, it's hard to place the album in an existing genre. But Tiller's self-invented "Trap Soul" is a perfect fit.
In the simplest terms, Tiller is a rapper and a singer. But as we’ve all seen, when rappers also sing, the final product can range from terrible to awkward to fantastic.
Lucky for us, Tiller is fantastic.
His sounds are more fine-tuned than PARTYNEXTDOOR (who relies more on synths than raw runs) and his bars reach Drake-level introspection. Throughout the album, Tiller talks about falling in love, failing in love, and his plans to dominate the industry. As a result, there is a diversity of emotions and sentiments expressed in the project. Tiller oscillates between Mr. Steal Yo Girl, (“Oh he mad huh, is he pissed off?/Too bad, n*gga should’ve been on his job“) in “Overtime,” to sensitive and vulnerable in “Open Interlude,” (“Ohh girl, I’ve been so afraid. Baby, I’ve been sufferin', does that mean nothing?”).
There to contrast the in-your-feelings, R&B-esque tracks are hype anthems “Rambo,” “502 Come Up,” and “Sorry not Sorry.” These songs give listeners all the confidence they need to stunt. In “502 Come Up” Tiller explains, “And some say there’s levels to this sh*t/Damn look at all the levels that I skipped/Feeling like there’s a medal I should get.” Tiller has no problem championing his accomplishments and letting everyone know how hard he worked to achieve them. And with his popular record, “Don’t” hitting mainstream waves, we should all expect to hear and see more of him.
When listening to the album, it’s palpable how much time and effort Tiller put into the project. The level of artistry he demonstrates throughout T R A P S O U L feels rare, especially within an industry that often makes formulaic and uninventive sounds automatic hits, despite the minimal effort invested to create them. Tiller’s record, however, is different. Since it dropped, I’ve listened to it at least ten times, all the way through. It’s the kind of album you’ll want to blast in the car with the windows down, have on repeat while studying or turn up to at a kickback.
So if you’re looking for new music, treat yourself and download T R A P S O U L.
You can thank me later.
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