Fresh off the heels of “Marvin’s Room” and “Dreams Money Can Buy,” the Toronto emcee has dropped yet another free download in anticipation of his forthcoming album, Take Care. “Trust Issues” is a spin-off of Drake’s feature in DJ Khaled’s “I’m on One” alongside Rick Ross and Lil Wayne.

Drake describes the record as, “my own little thing using some other thing I did. You know,” on his blog, October’s Very Own.

Take Care is scheduled for an Oct. 24 release—Drake’s birthday. in the meantime, you can catch the Degrassi star in Toronto headlining Ovofest on July 31 with special guests Rick Ross and The Weeknd.

Drake - Trust Issues


DJ Khaled - I’m On One Ft. Drake, Rick Ross, Lil Wayne


Drake - Marvin’s Room


Drake - Dreams Money Can Buy

What do you think of all the new material Drake has been releasing?

It’s Donwill’s birthday, so he’s giving you a present. For the past three years Donwill, one third of rap group Tanya Morgan, has released music on June 4, his born day, to show appreciation for his fans. This year is no different and Donwill is offering DPPLGNGR, a follow-up to his LP Don Cusack in High Fidelity, for free download.

the title comes from just becoming a whole different person over time, sorta like a doppelganger of  yourself. that feeling that you get when you look in the mirror and dont really know the person looking back at you even though they look just like you. our lives change us incrementally on a daily basis so after a few jarring experiences one day we all lose who we were to become who we are. thats life right? you change it or it changes you.

For more from Donwill on this project check out his blog McDayJob.

In the small hours of June 5, Kanye West released the official video for “Monster” featuring Jay-Z, Nicki Minaj and Rick Ross on his official website. Previously, an unfinished version of the video had leaked in February featuring decapitated models and a sadomasochistic Nicki Minaj segment. New to the official version of the video–a disclaimer.

In what appears to be an attempt by West’s camp to deter a public relations scandal, the video opens with a disclaimer instead of it’s original Rick Ross cut. In February, the leaked version of the video prompted petitions to Universal Music Group and MTV asking senior management to cut support for the video due to images of “eroticized violence against women.” Despite garnering over 15,000 signatures on the online petition, few changes have been made to the video and instead, a disclaimer was added to the final production. After a minute into the video this much is clear, Kanye West certainly has a controversial interpretation of what it means to be a “monster,” one he’s well aware he will have to defend in the wake of the release.

The frontman of the California rap collective, Odd Future has a released the video for his next single, “She” off of his label debut, Goblin.  The video follows Tyler, the Creator as he tries to encroach on the relationship that vocalist, Frank Ocean has with a girl new to the neighborhood. After some unsuccessful stalking, Tyler is arrested and harassed by an angry, suspecting father but that doesn’t stop him from winning over the new girl in the end. What? Thought all Wolf Hayley made was “horrorcore?”

The Mayback Music Group constituent just dropped the FreeStalley record, “Chevys and Spaceships.” The Ohio emcee was recently added to Rick Ross’ MMG’s roster in April, also home to artists Wale, Pill and Meek Mill. MMG’s Self Made compilation also debuted today. Read more for a stream and download of “Chevys and Spaceships.”

What do you think of “Chevys and Spaceships,” does Stalley have a winner?

What do you think of Kreayshawn?

Over the weekend, Twitter was buzzing about the Wes Craven horror film, People Under the Stairs—it’s new to Netflix!—so we thought we’d put you on to the rap group of the same name, otherwise known as P.U.T.S.

With 10 years and seven albums worth of experience, People Under The Stairs, are widely considered tenured veterans in the underground hip-hop scene. The two California emcees, Thes One and Double K, first met in a music store in Los Angeles after hearing industry buzz about each other through the grapevine. They exchanged mixtapes and have been together ever since.

Of their many tributes to their L.A. stomping grounds, “L.A. Song” remains a crowd favorite and has spurred a few remixes:

People Under the Stairs – LA Song (Sensitive Mix) by Tympanogram

With a passion for producing old-school beats that have a hard-hitting twist, the duo has stayed true to their hardcore funky form throughout the years. Their debut album, The Next Step, released in 1999, showcases the group’s ability to produce jazz infused boom bap raps reminiscent of the Native Tongues Posse in their hey day.

Their latest album, Carried Away, was released in 2009 and features nods to old school production, abundant with funk and disco samples in tracks like, “Hit The Top.” This mix is hardly original but instead furthers the musical conversation started by De La Soul and A Tribe Called Quest. With their innovative combination style, the pair does a bang-up job of keeping their audience guessing at what novel rapping invention is going to come out of them next.

For more on P.U.T.S. check out their MySpace or this awesome site created by a super fan.

—Nicole Rogers

Photo: passionweiss.com

Pittsburgh native and Wiz Khalifa affiliate, Mac Miller, has released yet another free project, On & On & Beyond. It’s a six track EP that features staff favorite, “In The Air,” a track originally on Miller’s Best Day Ever.  Read more for a stream and download.

Mac Miller – On and On and Beyond Preview – SBG by SBG Movement 2

Mac Miller – On & On & Beyond | Download Here

With no warning, young emcee Wiz Khalifa decided to release mixtape, Cabin Fever by ways of twitter. Khalifa, famed for his singles “Say Yeah” and “Black and Yellow” is a recent Atlantic Records signee and his forthcoming album, Rolling Papers, is scheduled for a March release. Read more for the tracklist and download.

Wiz Khalifa – Cabin Fever | Download Here

Natelege Whaley interviews, Grammy award-winning hip-hop production super group, J.U.S.T.I.C.E. League.

WORDS BY NATELEGE WHALEY

Every superhero has a signature. Batman had the glowing bat-signal, Flash a red suit with yellow lightning bolts, and Superman the distinguished “S” on his chest. But for the Tampa Bay producing trio, J.U.S.T.I.C.E. League, their signature lies in the pounding bass, strings, and old school R&B and pop samples. After producing ten tracks together in a single night, Rook, Colione and Kenny B. decided to form a group in 2003. The three knew the name was hardly original—a spinoff of the comic strip by the same name— so they switched it up, and added an acronym to, fully represent who they are: “Just Undeniably Some of The Illest Composers Ever.”

Rook, one-third of the team assures that the comic has nothing to do with the powerhouse producing trio. Yet, the similarities are clear: that three of the self-proclaimed best producers from the Tampa Bay-area have come together to “bring real music back to hip-hop.” A mission fit for superheroes.

The group didn’t wait long to use their super producing powers to gain recognition. They received their first break five years ago on Young Jeezy’s “Don’t Get Caught,” a track on his debut Let’s Get It: Thug Motivation 101. The same year, they won a Grammy award for production on Mary J. Blige’s album The Breakthrough. Last year, they won an ASCAP Rhythm & Soul Award for rapper 2 Pistols’s “She Got It.” Even Rick Ross has heavily used J.U.S.T.I.C.E. League’s production on many projects including the track “Magnificent,” off his LP Deeper than Rap, “Luxury Tax” and “Maybach Music” off Trilla, and “Aston Marton Music” on Teflon Don.

The three producers sample cleverly from a selection of old school R&B, pop and Motown artists (Think The O’Jays, Angela Bolfill, and Friends of Distinction). Moreover, their beats often have samples with a busy string and brass section; then they add a heavy bass that complements, and never overpowers the instrumentation. Time will tell what other songs the producers will uncover from the past and rebirth. What is certain is that the J.U.S.T.I.C.E. League have not been distracted by their positive reception into the music industry. As they turn on their tunnel vision, they look to leave their imprint as ingenious contenders not only in hip hop, but across all genres.

25 Magazine: How did you guys form J.U.S.T.I.C.E. League?

Kenny: We were all producing in the Tampa Bay area in Florida and working independently with different artists. We ran into each other at the studio and heard each other’s work and we were impressed. We decided to get together. We made 10 beats that day. The chemistry was so natural that we decided to become a team.

25: The name J.U.S.T.I.C.E. League comes from a team of superheroes like Batman, Superman, Wonderwoman and others. How does this name and the acronym best fit you all?

Rook: Honestly the acronym has nothing to do with the comic superheroes. The acronyms stand for ‘Just Undeniably Some of The Illest Composers Ever.’

25: How did you develop into widely known producers?

Colione: It all happened because we had strong management who were there since the very beginning. We’re like a family. After we formed J.U.S.T.I.C.E. League and began building our catalogue, our management was pushing and making sure we got our name out there. We didn’t just do this by ourselves.

25: And what is your creative process when you’re producing?

Rook: Sometimes we each have our own ideas, or we come up with ideas at the same time. We might be in the studio and we collab with an artist like Young Jeezy, and he likes to say what he wants. It’s our job to give the artist what they want.

25: How do you give an artist exactly what they want?

Kenny: I think it’s important to first sit down and vibe with artists and see what kind of person they are and what sound they like. That’s important because you can’t just go into the studio and blindly play tracks.

25: Of all the artists you’ve worked with who did you have the greatest connection with musically?

Colione: Of course musically we have a great connection with Rick Ross. Our sounds link well together. He is some of the best beats that we make. He actually uses our sound that we originated.

Rook: We have a great working relationship with Young Jeezy. We go into the studio every time and we come out with beautiful, great, epic  music. You know our first song was “Don’t Get Caught” for him and it got us a good reputation in Atlanta.

25: In hip-hop a lot of producers sample, and you all sample in some of your work as well. How do you go about choosing which songs you are going to sample?

Colione: We usually buy a stack of records and listen to each one until we find a gem. The music has to be up to par. We usually go back to the Barry White’s and the old school. We like artists who have done whole orchestras and also music with a lot of instrumentation.

Check out “Pledge Allegiance to the Swag” – T.I. (prod. by J.U.S.T.I.C.E. League):

25: Some people think that a lot of sampling shows that a producer doesn’t have the creative ability to create their own beat. What do you think about that?

Rook: I think producers’ choice to sample songs depends on their own judgment and what feels good for them creatively. Earlier in our career we sampled heavy. But nowadays, we’ll sample, and we’ll take  the sample out and we’ll revamp the whole song, so it won’t be a sample.

25: As producers what do you feel the music industry needs and what will you all bring to the table?

Rook: We plan to bring music back to music and we also want the ability to change lanes. We want to produce for Ghostface and Rick Ross but at the same time do Britney Spears and Mary J. Blige. We were in New York working with Mary J. Blige, and then the next day we were working with a pop artist. We had to make the switch quickly from soul to pop, and from organic to electric.

25: Speaking more on the industry, what do you all think of the internet’s role as far as marketing and promoting?

Kenny: On the internet there are many ways to promote artists and to sell music. It can go both ways. A lot of people blamed the internet for declining record sales and it probably did have a part in it, but there’s so much opportunity on the internet.

Rook: A lot of it deals with bad music. If you make good albums you will actually sell.

25: Speaking of musical quality, Jay-Z made a statement with his song “D.O.A. (Death of Autotune).” Do you agree with his idea that rappers singing over autotune brings down the quality of hip-hop?

Kenny: You can make a song using the autotune effect and use it wisely and tastefully, but when you just start to abuse it, I agree with him [Jay-Z]. Think about it first. Does it sound good with autotune on it, or not?

25: What are some examples of songs that you think sound good or bad with autotune?

Kenny: I thought autotune was used well on 808s and Heartbreak by Kanye West. Kanye used a lot of autotune on there, but not to the effect that his rapping sounded like notes. He was actually singing and the songs were well written and well produced.

Colione: A bad example of autotune is a song in which you can’t tell who the artist is because the whole thing sounds like garbage.

25: Who do you think are some talented producers currently putting in work?

Kenny: I think Swizz Beats has always been consistent and he continues to evolve musically. Also I like Dr. Luke and his style as far as pop goes.

Colione: I have to say one of my favorite producers is Diddy, and he’s not exactly behind the keys, or working behind the drum machine, but he is a producer. I also like Rick Rubin. He’s really inspiring.

25: What are some artists you listened to growing up?

Kenny: My dad used to play a lot fusion and jazz like Al Viola, which is funny because when I met Rook, I found out his father was a percussionist for Al Viola and that was fascinating for me. Growing up I was listening to Radiohead, Miles Davis, Charlie Parker and anything in between.

Rook: My father played with Al Viola and when I was younger he would play the records for me and I didn’t like them. They didn’t make no sense to me. I was always into Dr. Dre, Wu Tang, and Gang Starr, you know hip-hop. Later on when I started doing music professionally I gained respect for what he’d done.

Colione: My mom was a rocker and I listened to a lot of her stuff. My cousin introduced me to hip-hop. He bought a drum machine and he was making beats and I started making beats with him. Then I kind of drifted off and got better than him and did beats on my own.

25: When did each of you decide that music was going to be your life?

Kenny: I always loved the creation side of music. I remember getting whoopings by my parents because I wasn’t doing well in school, and I was so fascinated with establishing myself as a musician. Not saying that’s the right route for everyone.

Rook: I think when I was younger, I didn’t want to do music. When I got a little older and into high school, it just kind of fell into my lap.

Colione: I wasn’t really good at anything else but music. I got in where I fit in and I was challenged by it. But a lot people need to focus on school and try to get in that way. You gotta be able to work well under pressure, otherwise you go crazy.

Rook: It’s hard to be in the all-star league. You can be drafted to the NBA, but to be an all-star you gotta be the shit.

Check out “Trillionaire” – Bun Ft. T-Pain (prod. by J.U.S.T.I.C.E. League):

25: With the passing of Michael Jackson, and reflecting on his legacy in music, has he had any impact on you guys? If so how?

Colione: It was a tragedy. He was a legend. When I was a kid, I remembered Thriller coming out. I was real young and all the older kids used to dance to it. I only used to listen to rock ‘n’ roll music but his music had a rock vibe to it.

Rook: I’m gonna tell you how real Michael was. Thriller came out in 1983 and by 1985 it was still the album to get. It was a phenomenon. He shut down primetime TV. They would have an hour special of the making of the video and have another 20 minutes of the actual video. “Thriller,” “Bad,” “Remember the Time”-Nobody does it like Michael.

25: Any last words or advice for upcoming producers?

Colione: My best advice for producers is to be consistent with every single piece you put together. Learn how to make music and learn what to do with the music that you make. If you’re really not getting your music out there, it’s because you need to make sure you have a great team behind you that can push your music forward. It takes a team, not just one player to get you to the next level. You need people that can talk for you, and have the best interest for you.

Lifestyle brand BarrelHouseBKLYN releases the Spring/Summer 2010 collection of their new line “Concrete Heavens.” These tees are inspired by the edge and energy of New York City a.k.a. the concrete jungle. Concrete Heavens is BarrelHouse’s first line.

BarrelHouseBKLYN is a growing curator of culture within their community, spreading positivity through music, fashion, art, poetry, etc.

Check out their latest shoot, taken in the DUMBO section of Brooklyn, New York.

Dope.

WORDS BY KIAH MCBRIDE

At first glance, Shawn Chrystopher is the epitome of a California native. Skinny jeans and t-shirts from an expansive color palette adorn his small frame coupled with a “too-cool-for-school” vibe.  There is something about him that sends you cyber-surfing his name.  It could be that his infatuation with cartoons and jaunty demeanor or his staunch college boy bravado. Whatever the case, you find that Chrystopher brings a ferent perspective to west coast music. While his sound does allude to strong Lupe Fiasco and Kanye West influences, Chrystopher offers his own story and musical creations—he often produces his own tracks—that give him mainstream appeal.

It’s clear that Shawn Chrystopher isn’t your typical Cali artist. He grew up in Inglewood, CA listening to punk rock artists like Green Day, and graduated from high school at the age of 16. He scored a four-and-a-half year scholarship to the University of Southern California and by 2009, landed an ad campaign with LRG clothing line for their 10^th Anniversary.  Not bad for a kid in glasses.

His first mixtape titled Keep Your Classroom Vol 1. received over 10,000 downloads and was an introduction to what is now considered the “new age” sound of educated artists. In August 2009, he released A City With No Seasons—an album that he hoped would separate his sound from artists that he’s often grouped with like Wale.

Now Chrystopher is back with his upcoming EP, The Audition, scheduled for a March 23 release date. Unlike previous projects, Chrystopher comes with more light-hearted rhymes that will surprise fans accustomed to his intellectual lyrics. His first single, “Like A Kid Again,” boasts a fun, relatable sound, and tips a hat off to the art imitates life adage. Always ahead of the curve, Shawn Chrystopher is poised to take on the ever-evolving music industry and change the image of west coast hip-hop.

Check out his single “Can’t Take That From Me” off of his EP, The Audition:
Can’t Take That From Me – Shawn Chrystopher by  25Mag

25 Magazine: What separates your sound from other hip-hop artists old and new?

Shawn Chrystopher: I think of music as fingerprints. I don’t think that anybody can make the same music. I think that if you have a piano, a guitar, and a drum set in a room and you put 15,000 bands in that room one after another, neither one of them will make that same exact song. Even though you have the same instruments you all have different songs. I think with me, my music is different because it’s mine. I have a story that nobody else can tell because I’m talking about my life. When it comes to sound, I grew up in Inglewood, CA so I’m five minutes from some of the richest people in California and I’m five minutes from some of the poorest people, so I would listen to everything. I used to be really into Green Day and then I would listen to Bone Thugs-N- Harmony. I was really into 2Pac and I listened to John Mayer.  So you have all of that in me; I just mixed it all together so I think it’s unique because it’s mine.

25: In one interview you said that you studied rap like you would study your schoolwork. Who and what specifically did you study?

SC: I would study what songs were popular and why they were popular and which songs weren’t.  I remember one year when Juvenile’s “Slow Motion” was the number one song in the country. I was like, this isn’t a club song and it’s not up-tempo; it’s so hood but it’s the number one song on the Billboard. I would just sit and try to figure out why certain songs were big and others weren’t. Why certain artists make it and why other artists’ second album destroyed them.

Like A Kid Again – Shawn Chrystopher by  Jabari

25: Your latest single “Like A Kid” off your EP The Audition is a fun tribute to going back to your childhood days. What was your life like as a child?

SC: I have a seven-year-old sister but I was practically out of the house by the time she was born, so I grew up an only child.  I was a Latchkey kid so I would come home and my mom would still be at work so I had to entertain myself. TV really stimulated my mind because I would watch everything and I would learn how to talk, how to walk, how to act, and how to dress. Other than TV I had some of the best neighbors. I still talk to my neighbors that I grew up with as a kid; we’re really good friends.  I grew up in a house so I had a backyard, was able to go out and play, and have block parties. That made my childhood fun because I could ride a bike. That’s why I started the song off “I used to ride bikes” because I was the kid on the bike in my neighborhood. I rode the bike from sun up to sun down; I had nowhere to go most of the time I just liked bikes. Basketball and riding bikes was my childhood, and cartoons.  Actually, that still is my life. I need to grow up!

25: What should we expect to hear on your upcoming EP The Audition compared to your other EPs like No One Knows You?

SC: Really dope shit. I tried my best to create a different sound that I’ve never done before. My past music was really intellectual and I tried my best to not be like anybody in my area, and sometimes I went over people’s heads.  I tried to over think my music too much in order to stand out when really I could just be myself and stand out. So this project is more me than I’ve ever done. I have fun with it, tell jokes on songs—I personally don’t take life too seriously because I like to have fun. I think that it’s something that people can relate to; people can have fun with it and play it in their cars. I think people really are going to fuck with it.

25: Are you going to pursue production more than being an artist in the future?

SC: Not more so than being an artist but production can carry me a long way because I can produce until I’m dead. I can’t rap when I’m 50. I will never turn my back on either one of them—I love them equally because I love to perform, I love to be in front of the crowd, but I also like to create music. As a producer, the same way a painter paints a blank canvas, we make songs out of silence. We sit in the studio with nothing and we create something that people either love or hate, but at the end of the day we started from silence. That’s something that I thank God every day that I have the ability to do—that I can create art from silence. I would never stop producing or rapping; I would do both until people get tired of hearing me rap and then I can produce the rest of my life. 

Photo courtesy of Elitaste Management

25: What impact would you like to make in hip-hop music?

SC: The whole purpose of doing what I do is that I want people to see the west coast in different light. I think that with movies like Menace II Society and Boyz in the Hood people automatically think that’s all we are, especially in Los Angeles.  What the gangster rappers did for L.A., like 2Pac put us on the map, I want to do for L.A., just on the other side of the spectrum.

25: Where do you see your self musically in the next five years?

SC: I think I will already have at least one Grammy or Grammy nomination, I will be on the cover of a few magazines, and have foot in the door for pursuing fashion. I really love fashion. I don’t just want a clothing line; I want to design for high end line that’s already out. In five years I think I’ll be able to travel, meet people, and go to fashion shows. Then I’ll be able to do both music and fashion.

25: What is something that fans might not know about you?

SC: I watch TV on mute. It started out when I was little. I used to be up late watching TV on mute because I didn’t want my mom to know.  When I would watch TV on mute I would make up my own stories with dialogue and everything. It was all in my head and had nothing to do with the show, but it made me feel like I wrote it. Now people come over my crib and point out that the TV has been on mute for two hours, but I don’t even notice anymore. I love watching TV on mute because I can still do other things and at the same time create my own episode.

Check out Shawn Chrytopher’s commercial for upcoming EP, The Audition:

The Audition – Shawn Chrystopher | Download Here

Shawn Chrystopher releases EP, The Audition. Unlike previous projects, Chrystopher comes with more light-hearted rhymes that will surprise fans accustomed to his intellectual lyrics. His first single, “Like A Kid Again,” boasts a fun, relatable sound, and tips a hat off to the art imitates life adage. Editor, Kiah McBride recently interviewed Shawn Chrystopher, read it here. Download and tracklist after the jump!

The Audition – Shawn Chrystopher | Download Here

25 Magazine catches up with D.C. band, The Five One between sets at the “Our People, Our Haiti” benefit concert at the Warehouse Loft to talk upcoming EP, Deuce Day World. The video features their oldie but goodie, “Sak Passe.” Listen to The Five One’s last few LPs here!

Check out the latest mixtape release from rapper Quest, How Thoughtful. The mixtape is mixed by DJ RTC of recent Closed Sessions fame, the project has one feature (sort of) and is a showcase of the teenaged emcee’s developing lyricism. Download and artwork after the jump!

Quest – How Thoughtful | Download Here

Photo courtesy of eightyocho.com | Eric Vogel

WORDS BY LAUREN MCEWEN

Cosigned by long-time friend, Kanye West and equipped with a nice flow, a gift for production and a hyphen in his name that he takes very seriously, 88-Keys is gunning for a spot among hip-hop’s elite. His first album, The Death of Adam, was a feature-heavy tribute to a fictional friend named “Adam,” who allowed his love and lust for women to lead him to his demise. Executively produced by West, 88-Keys’ debut was a virtual roll call of musical talent. Artists including Kid Cudi, Phonte of Little Brother, J*DaVeY, Bilal, Redman, Shitake Monkey and of course, Kanye West all paid their respects to Adam, the fallen “everyman.”

After the video for his first single, “Stay Up! (Viagra),” featuring Kanye West, began popping up on video playlists, 88-Keys gained a considerable amount of buzz in the music world. The Death of Adam made it’s way onto a variety of top albums lists, including MySpace’s “Top 50 Albums” and AllMusic’s “Top Hip Hop Albums.”

88-Keys’ latest song “Baggage Claim,” produced by multi-platinum talent Needlz, is themed after ABC’s hit show Lost, shows that Keys has more hits to offer hip-hop. He is currently working on a follow-up album to Adam and it should not disappoint.

Check out his new single, “Baggage Claim”:

Baggage Claim by 88-keys

25 Magazine: When did you decide to pursue a career in music?

88-keys: I guess it was ’97 or ’98 when I first got paid for my music, after doing it for a couple of years. I got about 700 or 900 bucks for selling my very first music that I ever made on a machine that I still use to this day. So I was like, “Ok, so, this is how this is going down. I see.” So I decided to make music my life.

25: Who are your major inspirations?

88-keys: Overall, my inspirations are my brother, Dr. Anthony K. Njapa, Q-Tip, Ralph Lauren and Pete Rock.

25: What’s behind your Polo obsession? Just loving the brand?

88-keys: It’s like you can’t go wrong with Ralph. I started buying the Polo brand back in ’91, but back then I was still buying other brands, but I always noticed that I was spending a long time rummaging through other people’s brands, and always coming up short because I didn’t really like the stuff, but by the time I went to the Ralph Lauren Polo section, of the department stores I used to shop in I couldn’t even decide which ones to pick because they were all fresh.

Finally I just said, “Why am I wasting my time trying to shop with other brands when I don’t love their clothing,” but I always love Polo stuff, so that was it, since ’92 until now. And then since ’06 is when I decided to wear Polo from head to toe. I don’t own any Nikes or whatever cats are wearing now days, Supras. I don’t own any New Era, or New York fitted hats, or anything like that. It’s just all Ralph Lauren Polo.

25: What made you choose dedicate entire debut album to your friend?

88-keys: It’s a story that everybody knows, and everybody is familiar with, but I felt like that story hadn’t been told through music in such detail. Sure, there are love songs, of course. There are songs about meeting that special someone. There are even songs about catching STDs out there, I’m sure, but I don’t think anyone has pulled it off quite the way I have: making the story very concise and fluid, almost.

25: Your bio on your website said that some of his other friends were upset that you dedicated your entire album to him. Why do you think that they feel that way?

88-keys: My bio is actually just a play on my album. Anything regarding myself on my bio is all true, but Adam is actually a fictional person, but he’s everybody. I do have friends who went through the same stuff that Adam went through, and I feel that every man has gone through some, if not all, of what Adam went through on my album—like what he actually went through physically and thought processes and his emotions.

And I feel that every woman of age knows an “Adam” in their lives. Whether they dealt with that person or their homegirls went out with that person and they were trying to steer them clear of that person. Adam could be mine and your father. So, Adam is every man in one way or the other.

Photo courtesy of eightyocho.com | Eric Vogel

25: How does it feel to be a family man breaking out into the music industry? Hip-hop isn’t always the most family-friendly of genres?

88-keys: I’m a father of two and a husband of one. That’s one of the reasons that I made the album because I’m trying to restore the traditional family unit. It definitely has its downsides. I don’t work on my music as much as I used to because I have other obligations to my wife and my daughters, but I wouldn’t trade it for anything in the world. I love them, and we plan on making more to add to the clan.

We’re actually working on a schedule. The schedule has allowed me to have three free days to work, and then my wife helps out as often as she can, like holding the kids down while I try to bring home the bacon. But she brings in bacon, too. She actually might wind up bringing home more bacon than I am, because she’s awesome and she has her creative business going on that she started.

25: Doing what?

88-keys: I’ll just say that it deals with photography. My wife is a self-taught photographer. She’s pretty dope. She has a website up. She met another woman who shares her interest and is a self-taught photographer. They clicked and formed a business plan, and it’s crazy. I think she might wind up making an “M” before I do, to be honest. But we’re married so, what’s mine is hers and what’s hers is mine.

25: What’s your favorite song on your entire album?

88-keys: My favorite song would be numbers 1 through 14. Had you asked me the same question before Kanye came in as executive producer, I would have said a song that no longer appears on the album, and everything else was secondary. But now, that the song was taken off I just love every song as much as the previous one. Yeah…my album’s pretty dope.

25: Who are three people that you would love to collaborate with in the future?

88-keys: Michael McDonald, Lupe Fiasco and, had he not passed so suddenly, I’d like to say the late, great, J-Dilla.

25: Do you have any plans for a tour in the future?

88-keys: Yeah, my management is working to get a meeting with a very well-known, reputable agency, but it’s been pretty hectic. The agency actually put me on tour with Kid Cudi, Asher Roth and B.O.B., and through them I also did a show with Lupe Fiasco a little while ago at Governors Island. As far as getting more touring gigs, that’s kind of up in the air right now. I’m pretty sure it’s gonna happen, but we just have to get the meeting. I’m actually happy that I’m not on the road right now because now I’m working on my next album, my next mixtape, and a bunch of projects, like some feature verses that I owe people, and my next beat CD—so I am a busy man!

25: Do any of your other projects have themes to them?

88-keys: They will. My next album most likely will, but I haven’t really decided yet. But I will say this—it’ll be dope! You heard it here first, folks.

25: Do you have any advice for other people who want to break into the music industry?

88-keys: Yes, don’t do it! Stay your ass in school! No, seriously. Be honest with yourself. That’s first and foremost. If you’re a rapper, and you know you’re not rapping as well as a Consequence, or a Lupe, or Kanye, or whoever. If you’re nowhere near their level of freshness, work on it behind closed doors, but don’t start putting songs up on MySpace, like “Yo! I’m the next Kid Cudi!” Be honest with yourself.

I have a feeling that people actually know that they’re not that fresh, but they’re just, like, throwing pasta at the wall. If you’re not that fresh then you’re just wasting people’s time. For producers, it’s the same thing. If your beats aren’t that crazy, keep working on it and actually surface when you have something buzzworthy. I mean, music is all a matter of opinion, but there are some people who should just know that they’re wack. I’m not saying hang it up completely—well, there does come a time when one should hang it up completely—but don’t like puff your chest out when there’s no air in your lungs.

For more on 88-Keys, check out www.eightyocho.com.

Peep 88-Keys’ video for “Stay Up (Viagra)” feat. Kanye West:

Check out Bun B’s latest project, No Mixtape. Tracklist and download after the jump!

1. Intro
2. On To The Next Year
3. Stupid Trill
4. Trill OG
5. 2 Damn Trill
6. Trill Gladiator Snippet
7. No Mixtape
8. Transform Ya
9. One King
10. Don’t Say Shit
11. Countin’ Money
12. I Went In
13. Adrenaline Rush
14. (2)DopeBoyz
15. Coocoo
16. Greatest of All Time
17. Mr. Hit That Lick
18. Press Play
19. Big Dick Chaney
20. I Am
21. I Got Cake
22. Play Cloths
23. Bag Music
24. I Made It
25. The Champion
26. Put It Down
27. Outro
Bonus: Pants On The Ground

Bun B – No Mixtape | Download Here

Shouts to 2dope

The Five One covers Wale’s “Pretty Girls.” Download and stream after the jump!

“Say girl ain’t no time to play girl/You can keep your friend I don’t mind a gay girl”

An “acoustic driven” cover off their upcoming EP Deuce Day World.

It’s different, consensus?

Badu’s New Amerykah, Part II: Return Of The Ankh will drop Feb. 23. Tracklist and Lil Wayne collab track after the jump!

1. 20 Feet Tall
2. Window Seat
3. Agitation
4. Get Money
5. Don’t Be Long
6. Love
7. Umm Hmm
8. Fall In Love
9. Incense
10. Out My Mind Just In Time (Part 1) (Undercover Over-Lover)
11. Out My Mind Just In Time (Part 2)
12. Jump In The Air

“Jump in the Air and Stay There” Ft. Lil Wayne live rip via 2dope. The final version of the track is rumored to feature 10 rappers.

We couldn’t resist! Talk about 99 problems…

Brooklyn strategist Mike Arauz designed the infographic as well as a chart detailing who would be interested in it. We fall in the geek/hip hop sector, haha!

Check out 25’s unsigned and undiscovered series, “The Breaks” featuring Poe Picasso.

Words by Tray Laws |Photo Courtesy: Poe Picasso

In 2006, Poe Picasso picked up his pen and began writing rhymes that he eventually recorded a year later. Once his project was finished, the Brooklyn rapper only shared his music with friends. He had no intentions of releasing it for the world to hear. But his friends felt the heart Picasso sculpted into his music, so they pushed him to release it publicly. Those tracks became Exhibit A: The Real Hip Hop Project, released in January 2009. With Exhibit A, Picasso wants to prove that New York still has more to say. His flow is equipped with appeal, consistency, and intelligence. On the track “She Cries,” Picasso raps maturely about the many issues of Mother Earth, and how the people are contributing to her pain. On “Waste of Lead,” Picasso aggressively gives his view on the state of hip-hop and that it needs to be saved. This mixtape, a compilation of respect demanding, lyrical, feel good hip-hop, is a good start for Picasso as he makes his contribution to the ‘Hip Hop Museum.’

Although it took him two years to put out his first “Exhibit,” Picasso weighed his artistic scale, and realized he was heavy enough to put out Exhibit B: Manifest Destiny in November 2009. Picasso is aware of the load he carries in his aim to be the best out of New York. The city is home to some of the most well known rappers: Biggie Smalls, Jay-Z, and Nas. Yet, while proving he is worthy of being in the same realm as his predecessors, Picasso has figured out how to do it his way. The rhymes Picasso conceptualizes, paint the picture of his city in a different hue.

25: The name Poe Picasso definitely grabs attention, how did you develop the stage name?

Poe Picasso: It was simple. The Poe part I came up with, and the Picasso part my friend came up with. Me and my friends always use famous names or names of influential people; he suggested adding Picasso on the end of it and it just made sense. The Poe Part is from Edgar Allan Poe and the Picasso part came from Pablo Picasso.

25: A lot of your fellow New York Rappers talk about The Big Apple in their rhymes, how did the city that never sleeps influence your sound and your Mixtape Exhibit A: The Real Hip Hop Project?

Picasso: New York was the main influence. New York was basically known for its lyrics that had some kind of toughness behind it. So, Exhibit A would just be a re acquaintance with New York; letting the people know that there are people in New York who are still lyrically in this who can make it. Plus, growing up in New York you have to, well not everyone, carry a certain prestige. I cant say I’m from New York and people hear my music and think ‘nah you don’t fit in that realm.’ I think that’s what motivated me more to push it to the next level.

25: In your song “Bask in My Glory” you say “the Internet makes a loser feel important,” and “Since when was it cool to be a lame, cornball, or a nerd, but I guess that’s what works.” What did you mean by those lines?

Picasso: Basically, when you’re online its different from being in person. When you’re online you can do and say whatever because you’re behind a monitor and no one can see you. So they can post stuff with no real credentials or post stuff in whatever look that works for the moment. Being yourself just doesn’t work anymore-now you have to have a story. Before, what made you stand out was your specific flow. Now it’s about what you’re wearing and what kind of watch you have. The music has become the secondary element.

25: On your Myspace page bio you describe yourself as a Messianic (mes•si•an•ic) Adj. 1. Relating to the belief that someone or something will bring about a complete transformation of the existing social order. How will you achieve this message through your music?

Picasso: I do so by keeping it as honest as possible. You can tell when a person is just rapping to rap by how many ‘cool lines’ they try to write. I write in honesty so I don’t feel like I’m just writing. So, If I’m keeping it as honest as possible and people feel that then the change has began and the message spreads. The way I use my words when I write, it’s poetry and that’s where the art form takes shape. I always have a message I’m trying to convey because as artists we have people that listen to our music and internalize the message we’re trying to convey. We’re the voice of our generation so it’s important for our listeners to get the message.

25: What’s your plans in the near future and where do you see the Poe Picasso brand in 5 years?

Picasso: My plans for the future are to be the number one artist. The best. If I’m not the best then I’m doing something wrong. As far as the Poe Picasso brand I see it being on the forefront carrying on the art form. I want my name to be the staple of New York, The flagship artist like when you think New York you think Poe Picasso. I know that sounds a little far fetched but that’s what I’m working for.

25: Anything else you would like to add?

Picasso: My next project, Exhibit B is one of the best bodies of work about to break. I’m very competitive and I’m not OK with being just OK and a lot of artists are OK with that. I think the healthy competition is lacking, not a beef type of thing, but by being the best it would push other artists to be the best.

You can find Poe Picasso’s Exhibit A: The Real Hip Hop Project and Exhibit B: Manifest Destiny at myspace.com/poepicasso

Fuze the MC remixes Drake’s “Scriptures.” Download/stream after the jump!

Scriptures – Drake Ft. Fuze | Download here

NPR has released their list of the 50 Most Important Recordings of The Decade. Rap and R&B only accounted for about a dozen and included albums from the usual suspects, Jay-Z and Beyonce as well as the less expected, Little Brother. See the complete list after the jump.

The 50 Most Important Recordings Of The Decade

01. John Adams: On The Transmigration Of Souls
02. Animal Collective: Merriweather Post Pavilion
03. The Arcade Fire: Funeral
04. The Bad Plus: These Are The Vistas
05. Beyonce: Dangerously In Love
06. Bon Iver: For Emma, Forever Ago
07. Bright Eyes: I’m Wide Awake, It’s Morning
08. Burial: Untrue
09. Clap Your Hands Say Yeah: S/T
10. Kelly Clarkson: Breakaway
11. Coldplay: A Rush Of Blood To The Head
12. Danger Mouse: The Grey Album
13. Death Cab For Cutie: Transatlanticism
14. The Decemberists: The Crane Wife
15. Eminem: The Marshall Mathers LP
16. The Flaming Lips: Yoshimi Battles The Pink Robots
17. Osvaldo Golijov: La Pasión Segun San Marcos (Saint Mark’s Passion)
18. Green Day: American Idiot
19. Iron And Wine: Our Endless Numbered Days
20. Jay-Z: The Blueprint
21. Norah Jones: Come Away With Me
22. Juanes: Fijate Bien
23. LCD Soundsystem: Sound Of Silver
24. Lil’ Wayne: Tha Carter III
25. Little Brother: The Listening
26. M.I.A.: Kala
27. Yo-Yo Ma: Silk Road Journeys: When Strangers Meet
28. Mastodon: Black Stars
29. Jason Moran: Black Stars
30. OutKast: Stankonia
31. Brad Paisley: 5th Gear
32. Panda Bear: Person Pitch
33. Robert Plant & Alison Krauss: The Rising
34. The Postal Service: Give Up
35. Radiohead: In Rainbows
36. Radiohead: Kid A
37. Shakira: Fijación Oral, Vol. 1
38. Sigur Ros: ( )
39. Britney Spears: In The Zone
40. Sufjan Stevens: Illinois
41. The Strokes: Is This It
42. The Swell Season: Once Soundtrack
43. Ali Farka Toure & Toumani Diabate: In The Heart of the Moon
44. TV On The Radio: Return To Cookie Mountain
45. Various: Garden State Soundtrack
46. Various: O Brother, Where Art Thou? Soundtrack
47. Kanye West: The College Dropout
48. The White Stripes: White Blood Cells
49. Wilco: Yankee Hotel Foxtrot
50. Amy Winehouse: Back To Black

We think some notables are missing from the list, what do you think?

We’re a little late with this one (darn spam!) but check out a track from  S-Preme’s The Sicktape: Volume 2.  Stream and download after the jump!

“V.I.P.”  Ft. Roisan Murphy | Download Here

New Quest track/cover of A Tribe Called Quest classic, “Lyrics to Go” (Prod. by M. Will The Shogun), stream and download after the jump!

Download Here

“Lyrics to Go” is a track off of Quest and M. Will The Shogun’s upcoming project, The Reason, expected to drop in the first quarter of 2010.

Click HERE to get on the list.

25 Magazine’s Letese Clark gives Mariah Carey’s 12th album Memoirs of an Imperfect Angel, a first listen.

Words by Letese Clark

Mariah Carey is back with her 12th studio album, Memoirs of An Imperfect Angel. Produced by Mariah Carey, The Dream, and Tricky Stewart, the album delves right into the love entangled pages of a diary, with entries on mostly heartache and good for nothing men.  Carey reminisces on “falling asleep on the phone and skipping school” in a classic high school love tale on the track “Candy Bling.”  On the track “H.A.T.E.U.,” Mariah can’t wait to hate the one man she’s always loved. The supersongstress concludes the album with “I Want to Know What Love Is,” an ode to knowing the highs of real love.  Memoirs of An Imperfect Angel is a heart tripped out on the ups and downs of love from beginning to end, and will definitely have the listener’s heart reminiscing on memoirs of their own.

1.  “Betcha Gon’ Know”:  It’s sweet, sweet revenge, for Carey in her opening track. Her man needs to watch out because she’s out to make him pay for the wrongs he’s done to her.

2.  “Obsessed”: The first single off the album, complimented with a music video poking fun rapper Eminem, is an aggressive Carey with straightforward lyrics assisted with an up-tempo beat.

3.  “H.A.T.E.U. (Having a Typically Emotional Upset)”: The relationship is over but letting go is so hard. This track is a soulful sequel to “Shake it Off” from The Emancipation of Mimi.

4.  “Candy Bling”:  Carey takes a trip down memory lane as she reminisces on a teenage love affair.

5.  “Ribbon”: “You got me wrapped up, packed up Ribbon with a bow on it.” Carey’s sold on someone’s love, is not going anywhere, and she is proud of it.

6.  “Inseparable”:  Another track about love gone wrong and hearts tossed to the side.

7.  “Standing O”:  Rihanna’s “Take A Bow” comes to mind as Carey sings to her cheating ex, “So cheers, toast, bravo to you.  Cus you’re the man of the hour.”

8.  “It’s a Wrap”: Mariah takes it back to her R&B roots on this one. She sings to her man, “once you’re gone, you’re not coming back” as she shuts the door behind him.

9.  “Up Out of My Face”: Carey pulls out her sass as she pushes this man out of her life. There is no repair for her heart as it has become hardened.

10.  “Up Out of My Face (The Reprise)”: A live band version of the original.

11.  “More Than Just Friends”: Mariah is going out on a limb and letting her friend know she wants more than just their platonic relationship.

12.  “The Impossible”:  The beat is mellow. She has restored love as her knight in shining armor comes and revives her broken heart.

13.  “The Impossible (The Reprise)”: Mariah Carey samples Jodeci’s “Forever My Lady” into a slower smoother version of the original song.

14.  “Angel (The Prelude)”: Carey’s voice floats over the beat of this prelude.

15.  “Angels Cry”:  The love is shaky again. It’s a worthy track but its sounds the same as the others; when she finds love again, it slips away.

16.  “Laughing (The Interlude)”: The title implies laughing but the lyrics say crying.

17.  “I Want to Know What Love It”: It’s the perfect ballad to close out the  tear soaked album. Mariah Carey starts the album with a broken heart and ends it with the search for love.

25 Magazine’s Tray Laws gives Melanie Fiona’s debut album The Bridge, a first listen.

Words by Tray Laws

New artist Melanie Fiona has the vintage soul vibe of the classic Motown era yet she still possesses the flavor to capture today’s hip-hop focused audience. This past July, Fiona’s hip-hop tastes were previewed on The Bridge mixtape she recorded with DJ Questlove, a live mix of songs from her then upcoming LP, and even Kanye West’s “Heartless.” Now Melanie Fiona shows how well she bridges today’s R&B, classic soul, reggae, and hip-hop on her debut album, The Bridge released on Universal Motown. The Canadian soul singer’s first single “Give it To Me Right,” leads an album filled with songs of life, love, and heartache. On the track “Monday Morning” Melanie belts about personal growth and moving on to pursue her dreams, and on “Teach Him” Melanie assures her lover some love he never felt before. The Bridge is a delightful compilation of deep stirring songs sung with passionate note worthy vocals; definitely a bridge worth crossing.

1. “Give It To Me Right”: Melanie Fiona sings with strong lyrics that drip with sexiness. The vocals are fresh, inviting, and compliment the beat. She doesn’t want it all the time, but when she does…give it to her right.

2. “Bang Bang”: A renegade’s theme song. This track definitely has a rock vibe. The vocals pair well with the beat.

3. “Monday Morning”: Once you have outgrown a place it’s time to move on. This track has a classic soul vibe. The harmonies are reminiscent of the girl groups of the Motown Era yet it’s still hip and relatable.

4. “Please Don’t Go (Cry Baby)”: On this track Fiona provides more of that Motown flavor singing about a love she wants to stay. She sounds amazing; however, the track is boring.

5. “Ay Yo”: This track provides insight on Fiona and why she decided to sing. A motivational song. The beat sounds familiar, and the vocals sound sincere.

6. “Walk on By”: Church is the first thing that comes to mind. Then once the beat drops it sounds country. This track is about a love that did her wrong and she wants him to pay for it.

7. “You Stop My Heart”: Another track with a vintage sound. The vocals sound good, but it’s starting to sound the same.

8. “Johnny”: The movie “Grease” is the first thought that comes to mind. Although the track is up tempo she sings about a love lost that draws you in and then you find yourself tapping your feet.

9. “Sad Songs”: Another track about love gone wrong. She vocally sounds great on this song, and the island vibe of this song is enjoyable.

10. “Priceless”: The song about love that is-priceless. This is the first song that sounds like her and not like some other era of music. The vocals are fresh and make me want to find a priceless love to sing about me.

11. “It Kills Me”: Fiona slows the pace down on with track. This track is relatable because so many people go through an unfaithful relationship that they may not want to give up.

12. “Teach Him”: The album closes with a sultry track about a man that needs a little love. Fiona sings of teaching him about the good side of love.