Cole world is back, er’body! J.Cole is coming off his first Grammy nomination for, “Cole World: The Sideline Story”, in the, “Best New Artist”, category. I’m going to go out on a limb here and say that, that nomination will be the first of many more coming in J.Coles scintillating future in music. And what better way to keep the good vibes rolling, than to release new music for your hungry, and rapidly expanding, fan base.

I’ve noticed a new trend (no pun intended) on twitter with many rappers: It’s the idea that once an artist has reached a certain amount of followers they will release a new project or something exciting for their fans to get behind and support, as a token of the artists appreciation of their followers adoration. J.Cole recently hit 2 millions followers on his twitter account and decided, as a way to say “thanks”, that he would release his newest song, “Grew Up Fast”, produced by, Canei Finch. Canei Finch digs through the crates for this one and chops up a classic from the late 60′s for J.Cole to flex on. Sip on the silky smooth, David Ruffin, sampled track, “The Double Cross”, below, and hit the skip to stream, “Grew Up Fast”, and find the link to download after the jump!

http://www.mediafire.com/?gmdzh64cdxdbs29 <———– LINK TO DOWNLOAD

This track has a bounce like brown ball. Canei Finch chops up the beat like a stainless steel Ginsu on that dirty south, UGK, “International Players Anthem”, love life, sway side to side, close your eyes and put your hands high to the sky type tip. With syncopated claps, resonating 808′s, murky/underwater 40-esque-produced beat break downs and wailing lyrical soul samples interspersed throughout, this beat makes you dream of smoked out lounges in the south filled with big-booties-bad-bitches, popped bottles and Henny poured all up in yo cup.

On a lyrical, wordplay note, J.Cole goes all the way in on this one. Flipping his flow like pancakes on a flat top, J.Cole addresses the state of rap, coming up in the game, his achievements, girls (So I only fuck with hat-tricks…bitches with a few goals) and how he needed to take it back to the soul: “It’s only right I brought back the soul. Y’all got way to electro. Damn near techno. Half way homo. Way too metro. Hennessy XO. Cole flow’s best yo. Style like “Tribe Called Quest” meets “Death Row.” J.Cole just has fun with this track. Not getting too deep or experimental with anything, but definitely showing why he got that Grammy nod, and why he’s one of the best doing it in Rap right now.

Thanks for taking the time to read this post. Feel free to comment below. And don’t forget to Follow me on twitter @justspreadit —-> https://twitter.com/#!/justspreadit Cause, who knows, maybe when I get to 200 followers, I’ll do something special for you too! But I’m not an incredible rapper…so i dunno. Anyway. MUCH LOVE!!

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The musical maven is back again, ladies and gentleman, with yet another decidedly Diplo  take on a musical genre indigenous to a specific region. For his latest mildly adjusted musical makeover, the sartorial music savant tackles the uptempo booty bouncing club music of New Orleans locally established, enthusiastic and proudly underground, “Bounce Music” scene.

When Diplo has a premonition about a musical genres potential for mass appeal or commercial success, he’s certainly earned the right, by now, to expect people to be hanging on his every subsequent, and eccentrically inventive idea, on how to make said genre infinitely more popular than it is. Whether it’s been B-More Club Music, Dub Step or Moombahton, Diplo has proven he has been blessed with a truly opportunistic ear that few others in the music industry can compete with. And with his latest venture into, New Orleans Bounce Music, the aforementioned notion of Diplo’s undeniably acute sense of embracing what will be hot next, right now, is on display once again.

Below is a video of Diplo making some preliminary discoveries of the Bounce Music scene on a trip to, New Orleans. I suggest watching the video before you hit the skip under the video to listen to and download his new song, “Express Yourself”. Watching this video will shed a small portion of light on Diplo’s genius and thirst for musical discovery.

http://soundcloud.com/maddecent/diplo-express-yourself-feat/s-IjwRA <—- DOWNLOAD THE DIRTY VERSION TO GET THE FULL EFFECT OF THIS SONG. TRUST ME!!!

This song is mental. Pure and unadulterated musical frenzy. But I love it. Since I’ve been writing this post, I’ve had, Express Yourself, on repeat. In other news, my heart rate is unhealthily high right now, and I think my eye lids have been rendered unable to shut. With vocal aid from, Nicky Da B (A well knows Bounce rapper who uses Caribbean influenced rapid fire percussion style delivery to repeatedly coach the prospective female dancers of this song on how to optimize their bounce experience), Diplo, devilishly produces a Bounce beat with enough thump and clap to keep booties bouncing from bayou to bayou, and back again. With noticeable traces of Diplo’s dabbling in Dub Step, this beat has incorporated elements of thick Dub Step-esque sounds that will scrunch faces like sour lemons mixed with freshly brushed teeth. Truthfully, I don’t know if I could handle a whole album of this intensity, but if Diplo decides to go there with this new venture, I’ll follow…at least till I black out.

This was kind of a longish post, so if you’ve made it all the way down here, thanks for taking the time to read the whole thing! You’re awesome. Don’t forget to follow me on twitter @justspreadit. More new music presented and quirkily deconstructed by myself coming soon. Much love.

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Last night in Miami, Drake‘s, “Club Paradise” tour, kicked off with co-headliners Kendrick Lamar and ASAP Rocky. A couple hours before the tours first show, Kendrick Lamar released a new song, “Cartoons & Cereal” feat. Gunplay. Needless to say, releasing his newest song before what was probably the most promoted tour date on the tours schedule, a tour featuring two of the hottest and biggest Emcees in the game, was a VERY smart and calculated move on Kendricks part to receive easy social media buzz and promotion.

In 2011, Kendrick Lamar proved himself deserving of being heralded one of hip-hop’s “next up”. “Section. 80″ was, in my opinion, one of the best, and most surprising albums of 2011. The critical and industry acclaim that Kendrick received from that album helped propel him onto the records of numerous hip-hop big names in the form of guest appearances (most notably, Kendrick appeared on, The Game’s, The RED Album, and on, Drake’s, Take Care).

Hit the skip to listen to download CARTOONS & CEREAL FEAT. GUNPLAY and to get my thoughts on the record.

Also…follow me on twitter @justspreadit

This song is dark. Sonically, this beat is a problem. And I mean “problem” in the nicest most endearing sense of the word. THC comes through and produces a blacked-out-super-sonic-swagged-out-stink-face-shoulder-bouncing-head-banging-cooking-crack-beat with Heavy 808′s, rapid-fire machine gun high hats, hauntingly airy synthesizer notes, “Simon Says” angry mob yelling and emphatic claps (claps that sound like front side of a hand meeting the back side of a redbone). The doubling of Kendrick’s vocals during the intro conjure up feelings of what it might be like to hear two people prepping for a seance. For the intro, and what eventually turns into the bridge of ,”Cartoons and Cereal”, Kendrick uses the same froggy, alien-esque, flow he used on the Buried Alive Interlude off Drake’s, Marvins Room record. Once the verses start though, we see why Kendrick is one of the best doing it right now. Kendrick confidently glides over this imposing beat with great lyrical dexterity and diversity. Switching from fast to slow, Kendrick navigates his way over the THC beat with ease. The content of his raps center mostly around creatively delivered stereotypes of living in the hood and the pitfalls of committing oneself to the fruitless lifestyle of being a criminal or gang member. I believe the title of the song suggests the combination of cartoons and cereal are a fleeting safe haven for children who may have grown up in similar, disenfranchised neighborhoods to where Kendrick grew up (Compton). Eating your cereal while watching cartoons were moments of innocence that almost all children could relate to. That is until you opened your front door and Jimmy got into his dads car to go to school and Kendrick laced up his J’s and walked through the jungle. Just a thought.

If “Cartoons & Cereal” is any indication of what is to come from Kendrick in 2012, well, I. CANT. WAIT! Thanks for taking the time to read this post. Feel free to comment. Follow me on twitter @justspreadit and let me know what you want to write about! Much love.

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Ski Beatz offers up another session at his 24 Hour Karate School and this time around the dojo is at 30,000 feet up. 24 Hour Karate School: Twilight drops Valentine’s Day and all the usual suspects (Curren$y, Smoke DZA, Stalley, etc.) are sitting co-pilot. Bow to your sensei, because Ski treating that bass like you should treat your girl this Tuesday. You ain’t “Living it Up” like Mikey Rocks and Trademark unless you got the type that wants them sticky-green flowers though.  If you ain’t got a girl at all, just put this on rotation in the whip and cruise with Mary Jane.

Hit the skip for the the tracklist and a little sumn extra. Remember, J.ust E.njoy T.his S.hit. 

• Didit4thegreen (Feat. Da$h & Retch)
• Fly By (Feat. Curren$y)
• Heaven Is (Feat. C Plus)
• Gentlemen’s Quarterly  (Feat. Stalley)
• Living It Up (Feat. Mikey Rocks & Trademark Da Skydiver)
• Fly High (Feat. Smoke DZA & Terri Walker)
• Hip-Hop & Love (Feat. Tabi Bonney & Murs)
• City Lights (Feat. Najee)
• On (Feat. Sam Adams & Olamide Faison)
• Time Goes (Feat. Mac Miller)
• Thank God (Feat. Rugz D. Bewler & Nicole Wray)

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Fresh off the release of The Mechanics EP, his collaborative tape with super duper producer Falside, Providence’s rugged rally capper Juan Deuce unleashes “Freeze,” the first single off his upcoming mixtape No Sweat presented by Ricky Shabazz and the Boom Bap Boys. “Freeze” features Deuce flexing his sinewy lyrical muscles over a hypnotic, bass-heavy cut from up and coming beatsmith, Fonzi Wells. Preparing No Sweat nicely, “Freeze“ sets the table for what promises to be a very strong showing from Juan Deuce and Ricky. Stream below, download after the jump!

Download: Juan Deuce – Freeze [prod. Fonzi Wells]

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Bradford native, Hashfinger has been steadily releasing beat tapes for quite awhile now, but this by far is the smoothest.  The Feb. 12 EP hosts some super gritty boom bap entwined with the most powerful brass these ears have ever come across. Runs just over 20 minutes, so pop it in the tape deck, or usb port for your morning/evening commute and enjoy.

His label Sinoptic Music, also reps a handful of other interesting producers and emcees from around the West Yorkshire area, so if you like this, there’s plenty more to come by.

Hit the skip for the download link. It’s free.

Download: Hashfinger – Feb. 12 EP

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Say what you want about G-Side. Personally, I ain’t too impressed, but their new-school trap music does seem to mesh well with Stalley. The duo works very closely with Block Beataz, a production team from just outside of Huntsville, Alabama made up of Mali Boi and CP. They bring that clean, yet hard hitting sound that’s hard to ignore. Somebody send Curren$y this track! (seriously). Block Beataz aside, Stalley’s verse is off the damn hook. Pumped to see what he has on deck.

Hit the skip for some more gab and goodies.

The beat samples the Australian group, Tame Impala‘s “Why Won’t You Make Up Your Mind” off their album Innerspeaker. I’d be lying if I told you I had heard of em before this, but I suggest you browse them. Some ill vibes.

If you haven’t checked out Rick Ross‘s mixtape, Rich Forever, there’s also a decent little jaunt on there called “Party Heart” with Stalley and 2 Chainz. The hook is all sorts of wrong, but Stalley’s verse is on point. I don’t like to be riding anybody in the game, but the dude has shown some serious growth as an artist. One of my biggest criticisms of the guy, was that he didn’t really bring the energy of a major league artist. Since signing with MMG he’s loosened up a little bit and that track told me that he’s finna take over. Watch out!

Download: Rick Ross – Rich Forever (Mixtape)

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A few things about that Dilla documentary really stuck with me. He mentioned that when he would do something unique and cool, other cats would bite his style. It seemed to upset him. He said instead of copying someones style, you should “Do You.” Which brings me to this dude Knxwledge.  The Philly beatmaker/producer has been cooking up some beautiful messes that escape my descriptive talents. It seems like the dude releases a new EP or beat tape every week; each one different then the last. The dude is all about the “Do You” way of life. Recently he’s been putting his creative spin on some of my favorite verses, but this Kendrick Lamar verse is new to me. (Update: The verse is a Toca Tuesday freestyle and the record being flipped is a Leroy Hutson album [shouts to Potholes in my Blog])

The last thing I wanna mention is something ?uestlove said in the documentary. He said Dilla taught him that you can “keep it sloppy” as long as you “keep it funky.” This is definitely some funky ish right here dun.

Hit the skip for a couple other Knxwledge projects I’ve neglected to share on here, including the tribute to J. Dilla he dropped yesterday. Click the album artwork to stream.

Knxwledge’s tribute to J. Dilla:

Knxwledge – Takeitback.Medli

Knxwledge’s recent remix tape that dropped back in December:

Knxwledge – Wraptaypes.Port.1

I’ll be the first one to say, that when Dizzy started posting about this dude I was hesitant to dish out money for this guy’s work. Some of the albums are only like 13 minutes long. I bought em anyways and I’m glad I did. I encourage you to support what the dude is doing. He represents Dilla’s message better than most in the game right now. He’s making Classic stuff. So put yo money where yo ears is and give a little bread to someone who’s being himself and crafting some seriously awesome stuff.

Cop: Knxwledge – Takeitback.Medli

Cop: Knxwledge – Wraptaypes.Port.1

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I came across Dilla‘s solo album, The Shining as a freshman in college, but something about that title has always struck me. I remember hearing the line “…deep like The Shining/sparkle like a diamond...” from “It Ain’t Hard to Tell” and just being stuck. You know? The song goes on, but you still got that one line on your mind. It usually happens when I catch some clever wordplay, but this line in particular struck me for reasons I still can’t understand. The. Shining. Still gets to me.

Point is, that line was the reason I gave Dilla’s work a chance. iTunes suggested I listen to the album, but if it wasn’t for that title, I would have overlooked it. I had seen all the hype. Heard all the “R.I.P. Dilla” shout-outs from my favorite emcees, but I didn’t give any of his work a chance till I came across that album title (Turns out I had heard his work before then, I just didn’t know it). I didn’t give his work a chance because I just assumed he was the producer. Back then I wasn’t interested in instrumentals, beats, or production. Didn’t seem like there was that much to it.

Obviously I was wrong, the producer brings a lot to the table. Shit, the producer brings the table. He inspires the emcee. J. Dilla was the best at doing that. He brought out the best in every artist he ever worked with.

but I digress…

Today, as you may already know is James Yancey’s birthday. He passed away from Thrombotic thrombocytopenic purpura back in 2006. J. Dilla/Jay Dee will live on forever; if not for his music, then for the countless musicians he’s inspired and continues to inspire. I was scrolling through some youtube videos listening to some of his music (shoutout to @djdiz for his tweets this morning!), when I came across this documentary. There was that word again. Shining. I checked it out. Ended up skipping my class watching the whole thing.

I encourage you to check it out, whether you’re a fan of hip-hop or not. The dude is a inspiration. he’s more than that though. The dude shines. Brings light to everything he touches. I admire that. A lot of other people do to.

If you don’t know, now ya know. Hit the skip for part 2,3, and 4 of the documentary. Shoutout to Brian “@Bkyle_” Atkins for his directing. Check out giftedfilmsinc for more info on him.

Part 2:

Part 3:

Part 4:

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Call it anti-recession rap: a couple of artists content with their discontent exploring the depths of their Johnny Walker Red-scented underemployment. It’s The Monty Brogan EP, and it’s the latest project from Providence-based indie rap stalwarts Reason and Dirty Hank. It also marks the first official collaboration between Reason (best known for his work with Poorly Drawn People and his solo albums, Landlords & Lullabies and Gemini Slang) and Dirty Hank (the man responsible for a run of stellar releases, including The Class Act Mixtape and The Guide To Giving Up EP).

The 9-track release, a free download available through Poorly Drawn Recordings, finds the dubious duo at their raunchiest, musing about breakups, alcohol dependency, and squatters’ rights. Production duties are handled by Falside (fresh off his collaboration with Juan Deuce, The Mechanics EP) and Mad Plaid, one of Rhode Island’s premier, up-and-coming beatmakers. Songs include lead single “Say Disease,” as well as “Not That Hip” and “Perfect Day To Die.”

The Monty Brogan EP is available through Bandcamp at the link above . For now, it’s a free download. But the safe bet is to grab it quickly, because Congress can only pass so many unemployment-benefit extensions and Brooklyn Lager isn’t getting any cheaper. Stream below, download after the jump!

Download: Reason & Dirty Hank – The Monty Brogan EP

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