New upbeat track from Asher Roth, “Another One Down,” featuring DA from Chester French. This one’s lighthearted and will get you in a good mood if you’re not already in one. Also check out the trailer to the upcoming video for “Last Man Standing,” which features Akon (still don’t understand it but the song’s good). Video looks like it’s gonna be crazy!
New upbeat track from Asher Roth, “Another One Down,” featuring DA from Chester French. This one’s lighthearted and will get you in a good mood if you’re not already in one. Also check out the trailer to the upcoming video for “Last Man Standing,” which features Akon (still don’t understand it but the song’s good). Video looks like it’s gonna be crazy!
J. Cole just shared this mini mixtape/EP with us via Dreamvillain.net. Some old, one new, all good. He takes on Common’s “Go” on “Knock On Wood” and the last one, “Unabomber” is one of my favorite Cole tracks. Plus that album art is dope! Best part is it seems like we’re gonna get a stream of unreleased shit til Cole World: The Sideline Story is out 9/27.
“1. Like A Star – Was saving this for the 2nd album. Due to some other shit beyond my control, I’ma let this out now.
2. Knock On Wood – One of my fav. freestyles. OG Dreamvillains gotta be reminded, new fans gotta get put on.
3. Pity – Brand new J. Cole, Omen, Voli. Produced by Voli @volitheentity
4. How High – at one point this was guaranteed to go on The Sideline Story.
5. Unabomber – Just heard this today for the first time in a longgg time. Love these raps.
Every Sunday til the album drops I’ll be back with something. Maybe just 1 song, maybe a video, depending on how I’m feeling.”
DOWNLOAD | J. Cole – Any Given Sunday Vol. 1 (Mediafire)
FULL POST
J. Cole just shared this mini mixtape/EP with us via Dreamvillain.net. Some old, one new, all good. He takes on Common’s “Go” on “Knock On Wood” and the last one, “Unabomber” is one of my favorite Cole tracks. Plus that album art is dope! Best part is it seems like we’re gonna get a stream of unreleased shit til Cole World: The Sideline Story is out 9/27.
“1. Like A Star – Was saving this for the 2nd album. Due to some other shit beyond my control, I’ma let this out now.
2. Knock On Wood – One of my fav. freestyles. OG Dreamvillains gotta be reminded, new fans gotta get put on.
3. Pity – Brand new J. Cole, Omen, Voli. Produced by Voli @volitheentity
4. How High – at one point this was guaranteed to go on The Sideline Story.
5. Unabomber – Just heard this today for the first time in a longgg time. Love these raps.
Every Sunday til the album drops I’ll be back with something. Maybe just 1 song, maybe a video, depending on how I’m feeling.”
New drop from Drake off his upcoming Take Care album. Drake goes with his usual style of dipping in and out of singing/spittin. It actually sounds pretty good, but the lyrics are kinda tired. It’s almost like Drake’s been in a depression and is just starting to pull out. Unfortunately (or fortunately if you enjoy his raw emotion aka if you have panties that can be wet by his insecurities) our ears have been his diary. This one’s produced by Boi-1da and Noah “40” Shebib and picks up the pace from “Marvin’s Room” and the title song “Take Care,”. Take Care the album comes out October 24th.
New drop from Drake off his upcoming Take Care album. Drake goes with his usual style of dipping in and out of singing/spittin. It actually sounds pretty good, but the lyrics are kinda tired. It’s almost like Drake’s been in a depression and is just starting to pull out. Unfortunately (or fortunately if you enjoy his raw emotion aka if you have panties that can be wet by his insecurities) our ears have been his diary. This one’s produced by Boi-1da and Noah “40” Shebib and picks up the pace from “Marvin’s Room” and the title song “Take Care,”. Take Care the album comes out October 24th.
Much has been said of the current ‘new school’ of rappers — a group of these freshman that have now graduated into the next stage, their ascent to stardom. With his latest project, Section.80, Kendrick Lamar has risen to the top of his class as the first to release a well-structured, complete album. Although lacking the commercial appeal of many of his peers, he has gained the respect of those embedded in the true culture of hip-hop — its relevance as a medium of expression and the social nature of its background since its beginning. Through 16 tracks, Kendrick Lamar takes listeners on a journey of social expression (I don’t want to say commentary because that sells it far short) with hard bars and soulful beats.
The album begins with the crackling of a fire and a strong voice leading a community of listeners. The opening track, “Fuck Your Ethnicity,” is an important one in introducing the album, clearly highlighting that the message(s) and issues presented apply to every breathing person. The piano hits hard while Kendrick showcases his ability to stand toe to toe with the best lyrically. (I got 2/That’s a metaphor for the big shit I do/TMI, TSA, man I’m fly/Put wings on my back/That a plane or an angel?/ Both, like a pilot with a halo – whoa). He delivers them with a subtlety that contradicts how other rappers would be yelling out and delivering more chuckles than punchlines. From here he goes into “Hol’ Up,” the brightest song on the album. The trumpets bring us in to some bars and subsequently Kendrick’s repeating Hol’ Up on the chorus, which is catchy as fuck. Kinda like Dom’s “Grind’n,” you’ll catch yourself repeating it throughout the day after listening.
“A.D.H.D.” launches us into the heart of the album. If beats and rhymes are all that you feel coming from your speakers when you listen to Section.80, you’re missing the true intention of this 16-track artistry. There’s a much larger pill to swallow than the relentless flow and great production. This album serves as a wake up call to Generation Y. Much has been made of our generation’s downfalls and its potential for utter failure (I kinda touched on this on a tumblr post). A big issue that we’ve come across is how to convey these issues to the population to inspire some kind of change; many that realize the issues we face are simply overcome by apathy. It remains to be seen the impact music can have, but this album is a valiant effort, masterfully crafted over its central themes. In A.D.H.D., Kendrick watches medication overcome minds (chorus hits: 8 doobies to the face, fuck thought/12 bottles in the case, nigga fuck thought/2 pills and a half, wait fuck thought). This issue’s been on my mind a lot recently, reminded of me of something the homie Jeff over at 12FV wrote a while back “We don’t spend much time on our thoughts anymore. The present has showered us with instant gratifications. Whatever happened to meticulous cultivation and its hardworking counterparts? We want everything at our fingertips and we want it streaming from all directions.”
Kendrick shares two distinct qualities that I can see with a young Nas. The first is standing out from his peers with a truly conscious perspective on the world around him. (I’m not on the outside looking in. I’m not on the inside looking out. I’m in the dead fucking center, looking around) He’s touched on subjects before while finding himself as an artist, but Section.80 has a much more focused approach. Although there is no comparison to Nas’ work, depicting so vividly the claustraphobic hell in between 40th Side North and 41st Side South, the similarity can still be seen. The other thing I see that draws the two together is a relentless flow. Kendrick doesn’t give you a second to breathe or ingest anything. They differ in this aspect in that Kendrick’s is more of a stream which reflects a continuous thought process that needs to be expressed in that manner to retain its intended emphasis. Whereas Nas was packing so many individual lines into a song to portray visuals, it was as if he had a time limit on each track. It’s this style that really helps in setting Kendrick apart from other rappers right now. His wizardry with words isn’t characterized by compounding obscure references or metaphors, but rather by a flow of alliterating lyricism that never strays too far from the intended thought. Each line has a soulful, heavy emphasis that hits you like the rap equivalent of a Skrillex bass drum.
Kendrick continues on his path throughout the album, each song having its own unique appeal. “Ronald Reagan Era” and “Rigamortus” are two of the best tracks released this year, across genres. The album ends with “HiiiPoWer,” the J. Cole produced track that provides an uplifting end that inspires a call for action. (Opens with: The sky is falling, the wind is calling/Stand for something or die in the morning). Check the video below to get a better understanding. It serves as a reminder that the world needs he and J. Cole to get to making their supposed mixtape together. The two possess currently unrivaled lyrical skills and passion, and given influence from each onto the other they’d produce magical shit. The entire album builds up to HiiiPoWer, and I love that it’s left until the end despite being the best track on the album. It’s a testament to the fact that this needs to be listened from start to finish to be truly appreciated and understood. Best album of the year so far, looking forward to what the future holds for the only 24-year old Kendrick Lamar.
Tracklist
1.) Fuck Your Ethnicity [prod. by THC]
2.) Hol’ Up [prod. by Sounwave]
3.) A.D.H.D [prod. by Sounwave]
4.) No Makeup (Her Vice) ft Colin Munroe [prod. by Sounwave]
5.) Tammy’s Song (Her Evils) [prod. by THC]
6.) Chapter Six [prod. by Tommy Black]
7.) Ronald Reagan Era (His Evils) [prod. by Tae Beast]
8.) Poe Mans Dreams (His Vice) ft GLC [prod. by Willie B]
9.) The Spiteful Chant ft Schoolboy Q [prod. by Sounwave & Dave Free]
10.) Chapter Ten [prod. by THC]
11.) Keishas Song (Her Pain) feat. Astro Bot [prod. by Tae Beast]
12.) Rigamortis [prod. by Willie B]
13.) Kush & Corinthians (His Pain) feat BJ The Chicago Kid [prod. by Wyldfire]
14.) Members Only [prod. by Tommy Black]
15.) Ab-Soul’s Outro [prod. by Terrace Martin]
16.) HiiPoWeR [prod. by J. Cole]
You can catch Kendrick @ The Music Box 8/19 w/ Casey Veggies & Schoolboy Q for $25.
+jangbar
FULL POST
Much has been said of the current ‘new school’ of rappers — a group of these freshman that have now graduated into the next stage, their ascent to stardom. With his latest project, Section.80, Kendrick Lamar has risen to the top of his class as the first to release a well-structured, complete album. Although lacking the commercial appeal of many of his peers, he has gained the respect of those embedded in the true culture of hip-hop — its relevance as a medium of expression and the social nature of its background since its beginning. Through 16 tracks, Kendrick Lamar takes listeners on a journey of social expression (I don’t want to say commentary because that sells it far short) with hard bars and soulful beats.
The album begins with the crackling of a fire and a strong voice leading a community of listeners. The opening track, “Fuck Your Ethnicity,” is an important one in introducing the album, clearly highlighting that the message(s) and issues presented apply to every breathing person. The piano hits hard while Kendrick showcases his ability to stand toe to toe with the best lyrically. (I got 2/That’s a metaphor for the big shit I do/TMI, TSA, man I’m fly/Put wings on my back/That a plane or an angel?/ Both, like a pilot with a halo – whoa). He delivers them with a subtlety that contradicts how other rappers would be yelling out and delivering more chuckles than punchlines. From here he goes into “Hol’ Up,” the brightest song on the album. The trumpets bring us in to some bars and subsequently Kendrick’s repeating Hol’ Up on the chorus, which is catchy as fuck. Kinda like Dom’s “Grind’n,” you’ll catch yourself repeating it throughout the day after listening.
“A.D.H.D.” launches us into the heart of the album. If beats and rhymes are all that you feel coming from your speakers when you listen to Section.80, you’re missing the true intention of this 16-track artistry. There’s a much larger pill to swallow than the relentless flow and great production. This album serves as a wake up call to Generation Y. Much has been made of our generation’s downfalls and its potential for utter failure (I kinda touched on this on a tumblr post). A big issue that we’ve come across is how to convey these issues to the population to inspire some kind of change; many that realize the issues we face are simply overcome by apathy. It remains to be seen the impact music can have, but this album is a valiant effort, masterfully crafted over its central themes. In A.D.H.D., Kendrick watches medication overcome minds (chorus hits: 8 doobies to the face, fuck thought/12 bottles in the case, nigga fuck thought/2 pills and a half, wait fuck thought). This issue’s been on my mind a lot recently, reminded of me of something the homie Jeff over at 12FV wrote a while back “We don’t spend much time on our thoughts anymore. The present has showered us with instant gratifications. Whatever happened to meticulous cultivation and its hardworking counterparts? We want everything at our fingertips and we want it streaming from all directions.”
Kendrick shares two distinct qualities that I can see with a young Nas. The first is standing out from his peers with a truly conscious perspective on the world around him. (I’m not on the outside looking in. I’m not on the inside looking out. I’m in the dead fucking center, looking around) He’s touched on subjects before while finding himself as an artist, but Section.80 has a much more focused approach. Although there is no comparison to Nas’ work, depicting so vividly the claustraphobic hell in between 40th Side North and 41st Side South, the similarity can still be seen. The other thing I see that draws the two together is a relentless flow. Kendrick doesn’t give you a second to breathe or ingest anything. They differ in this aspect in that Kendrick’s is more of a stream which reflects a continuous thought process that needs to be expressed in that manner to retain its intended emphasis. Whereas Nas was packing so many individual lines into a song to portray visuals, it was as if he had a time limit on each track. It’s this style that really helps in setting Kendrick apart from other rappers right now. His wizardry with words isn’t characterized by compounding obscure references or metaphors, but rather by a flow of alliterating lyricism that never strays too far from the intended thought. Each line has a soulful, heavy emphasis that hits you like the rap equivalent of a Skrillex bass drum.
Kendrick continues on his path throughout the album, each song having its own unique appeal. “Ronald Reagan Era” and “Rigamortus” are two of the best tracks released this year, across genres. The album ends with “HiiiPoWer,” the J. Cole produced track that provides an uplifting end that inspires a call for action. (Opens with: The sky is falling, the wind is calling/Stand for something or die in the morning). Check the video below to get a better understanding. It serves as a reminder that the world needs he and J. Cole to get to making their supposed mixtape together. The two possess currently unrivaled lyrical skills and passion, and given influence from each onto the other they’d produce magical shit. The entire album builds up to HiiiPoWer, and I love that it’s left until the end despite being the best track on the album. It’s a testament to the fact that this needs to be listened from start to finish to be truly appreciated and understood. Best album of the year so far, looking forward to what the future holds for the only 24-year old Kendrick Lamar.
Tracklist
1.) Fuck Your Ethnicity [prod. by THC]
2.) Hol’ Up [prod. by Sounwave]
3.) A.D.H.D [prod. by Sounwave]
4.) No Makeup (Her Vice) ft Colin Munroe [prod. by Sounwave]
5.) Tammy’s Song (Her Evils) [prod. by THC]
6.) Chapter Six [prod. by Tommy Black]
7.) Ronald Reagan Era (His Evils) [prod. by Tae Beast]
8.) Poe Mans Dreams (His Vice) ft GLC [prod. by Willie B]
9.) The Spiteful Chant ft Schoolboy Q [prod. by Sounwave & Dave Free]
10.) Chapter Ten [prod. by THC]
11.) Keishas Song (Her Pain) feat. Astro Bot [prod. by Tae Beast]
12.) Rigamortis [prod. by Willie B]
13.) Kush & Corinthians (His Pain) feat BJ The Chicago Kid [prod. by Wyldfire]
14.) Members Only [prod. by Tommy Black]
15.) Ab-Soul’s Outro [prod. by Terrace Martin]
16.) HiiPoWeR [prod. by J. Cole]
You can catch Kendrick @ The Music Box 8/19 w/ Casey Veggies & Schoolboy Q for $25.
+jangbar
J. Cole‘s back to restore faith in those that were disappointed with his last two drops, “Bad Girls Club” and “Work Out.” The track, “Can’t Get Enough,” features Trey Songz on the chorus and alotta hot lines. The beat is fire too. No word on whether this will be on Cole World: The Sideline Story, which comes out 9/27.
J. Cole‘s back to restore faith in those that were disappointed with his last two drops, “Bad Girls Club” and “Work Out.” The track, “Can’t Get Enough,” features Trey Songz on the chorus and alotta hot lines. The beat is fire too. No word on whether this will be on Cole World: The Sideline Story, which comes out 9/27.
Good news recent and soon-to-be college grads. Even if you get stuck with a shitty job at Google, you can still “make it.” Hoodie Allen‘s living proof. If you’re just tuning in, recap: U Penn grad Steven “Hoodie Allen” Markowitz ditched his gig at Google to further pursue his rap career after sleep deprivation started to become a serious issue and he couldn’t silence the passion. Good for us! Bad for Google I guess.
Continuing his ascent along his alternate life path, Hoodie’s back at it with his latest mixtape, “Leap Year.” His style can be filed under the nerd-rap genre that Childish Gambino has made me a fan of. If you enjoy the endless and calculated wit that obviously reflects a prestigious college degree, you’re in for a treat. But beyond the bars, the man has shown an aptitude for songwriting. His last tape, “Pep Rally,” also showcased his diverse musical taste, with samples all over the place from The Black Keys to Death Cab. His flow’s surprisingly sharp and he’s got a knack for making hooks that are catchy as hell. The buzz is rapidly growing. Hop on the Hoodie train!
Tracklist
1. Song for an Actress
2. Can’t Hold Me Down (ft. Tayyib Ali)
3. The Chase is On
4. James Franco
5. You’re Welcome
6. Soul On Fire
7. Every Time You Go
8. Push You Away
9. Sticks and Stones
10. Flipping Out
11. #WhiteGirlProblems
12. Dreams Up
13. Moon Bounce
Good news recent and soon-to-be college grads. Even if you get stuck with a shitty job at Google, you can still “make it.” Hoodie Allen‘s living proof. If you’re just tuning in, recap: U Penn grad Steven “Hoodie Allen” Markowitz ditched his gig at Google to further pursue his rap career after sleep deprivation started to become a serious issue and he couldn’t silence the passion. Good for us! Bad for Google I guess.
Continuing his ascent along his alternate life path, Hoodie’s back at it with his latest mixtape, “Leap Year.” His style can be filed under the nerd-rap genre that Childish Gambino has made me a fan of. If you enjoy the endless and calculated wit that obviously reflects a prestigious college degree, you’re in for a treat. But beyond the bars, the man has shown an aptitude for songwriting. His last tape, “Pep Rally,” also showcased his diverse musical taste, with samples all over the place from The Black Keys to Death Cab. His flow’s surprisingly sharp and he’s got a knack for making hooks that are catchy as hell. The buzz is rapidly growing. Hop on the Hoodie train!
Tracklist
1. Song for an Actress
2. Can’t Hold Me Down (ft. Tayyib Ali)
3. The Chase is On
4. James Franco
5. You’re Welcome
6. Soul On Fire
7. Every Time You Go
8. Push You Away
9. Sticks and Stones
10. Flipping Out
11. #WhiteGirlProblems
12. Dreams Up
13. Moon Bounce
It’s no longer a secret that Dom Kennedy‘s been killin it the past few years. His tracks are starting to wear out my iTunes. From the Westside with Love received critical acclaim, and for good reason; it was a great project. A ballad of reflection, inspiration, and coming of age through the eyes of a young man in Leimert Park, CA. There’s a few tracks on there that are on another level. (‘Locals Only’ still adjusts my mindstate everytime). So, naturally, when Dom announced that he’d be releasing a sequel to FWWL, expectations went nuts like some mexican jumping beans. To amplify things, he stated in interviews that the project would be a true sequel — that the first didn’t say all he wanted to say, and that the second would be a completion of the full project. At this point, I’m thinking how the notion of expectations really is a double-edged sword. On the one hand, it creates an excitement and optimism that stems from the imagination. But, on that dreaded other hand, it creates the great potential for disappointment. This is especially the case when it comes to hyped and anticipated new projects from artists.
But FWWLII is not the same as the first. And that’s a good thing. Dom Kennedy in 2011 is in a completely different place than Dom Kennedy in 2010. A year presents itself with many experiences and things to express, and that shows in this release. The vibe is different, and any artist who doesn’t change from release to release is simply stagnant.
The tone is set with “Dom’s Prayer,” the intro track that turns out to be the best on the album. Dom starts out powerfully, proclaiming ‘with love on my mind and fire in my heart, they can never take us a part. Never.’ He picks up right where he left off on the outro from the Bonus Track on FWWL, “Me Again,” sharing honest knowledge that can only come from experience. This track showcases Dom at his best, what we saw throughout I — passionate, honest, reflective. Lord forgive me for this watch I bought/I know that shit had cost a lot/And I don’t really like to floss a lot/But I just really feel the time is right. This track serves as an intro into how things have changed since ‘I’. From here he goes into “Grind’n,” a song that’s a lot of fun. Be careful, that shit will have you sayin “grind’n” for up to 24 hrs after listening. Dom delivers repeated lines in his usual rhymescheme over a beat that utilizes some scratching. I love anytime a producer throws this in there (part of why A-Trak’s live performances are so entertaining) .
Females is a common theme/topic of the album, with “Come Over,” “She Ain’t In Love,” “I Love Dom,” “The Ways,” and “Dream to Me.” This makes up the heart of the album so it takes over the vibe of it. Come Over and She Ain’t In Love have a 90s feel to em, with the latter mixing in a very cool synth. “O.P.M.” has a sexy chorus that gives it anthem potential.
The album’s also got its share of bangers. “Platinum Chanel” is one of the standouts, reminds me of “Designer Sh*t” from OGDK, aside from the obvious title similarity. “New Jeeps” was destined for greatness with production from Chuck Inglish and verses from Asher Roth and Mikey Rocks. Dom follows up with another feature, bringing Big K.R.I.T. along on “2mph,” and then again with “Beats, Hoes, and Rhymes,” which features Casey Veggies and Schoolboy Q. The last track, “Graduate,” ends the project in typical Dom fashion, although without as much as emphasis as his previous projects.
The feel of this album is definitely a lot different from Dom’s previous releases. Some babies are gonna be made to this shit. But it shows a little range of what he can do as an artist which is cool, and is definitely worth your money. Go grab it on iTunes if you haven’t already!
+jangbar
Tracklist
1. Dom’s Prayer
2. Grind’n
3. When I Come Around
4. Come Over
5. She Ain’t In Love
6. Money Don’t Stop
7. O.P.M.
8. Platinum Chanel
9. I Love Dom
10. The Ways
11. Mr Champagne Intermission (ft. Polyester)
12. Ice Cream Truck
13. New Jeeps ft. Asher Roth x Mikey Rocks
14. 2MPH ft. Big K.R.I.T
15. Beats, Hoes & Rhymes ft. Casey Veggies x Schoolboy Q
16. Dream To Me
17. Graduate
FULL POST
It’s no longer a secret that Dom Kennedy‘s been killin it the past few years. His tracks are starting to wear out my iTunes. From the Westside with Love received critical acclaim, and for good reason; it was a great project. A ballad of reflection, inspiration, and coming of age through the eyes of a young man in Leimert Park, CA. There’s a few tracks on there that are on another level. (‘Locals Only’ still adjusts my mindstate everytime). So, naturally, when Dom announced that he’d be releasing a sequel to FWWL, expectations went nuts like some mexican jumping beans. To amplify things, he stated in interviews that the project would be a true sequel — that the first didn’t say all he wanted to say, and that the second would be a completion of the full project. At this point, I’m thinking how the notion of expectations really is a double-edged sword. On the one hand, it creates an excitement and optimism that stems from the imagination. But, on that dreaded other hand, it creates the great potential for disappointment. This is especially the case when it comes to hyped and anticipated new projects from artists.
But FWWLII is not the same as the first. And that’s a good thing. Dom Kennedy in 2011 is in a completely different place than Dom Kennedy in 2010. A year presents itself with many experiences and things to express, and that shows in this release. The vibe is different, and any artist who doesn’t change from release to release is simply stagnant.
The tone is set with “Dom’s Prayer,” the intro track that turns out to be the best on the album. Dom starts out powerfully, proclaiming ‘with love on my mind and fire in my heart, they can never take us a part. Never.’ He picks up right where he left off on the outro from the Bonus Track on FWWL, “Me Again,” sharing honest knowledge that can only come from experience. This track showcases Dom at his best, what we saw throughout I — passionate, honest, reflective. Lord forgive me for this watch I bought/I know that shit had cost a lot/And I don’t really like to floss a lot/But I just really feel the time is right. This track serves as an intro into how things have changed since ‘I’. From here he goes into “Grind’n,” a song that’s a lot of fun. Be careful, that shit will have you sayin “grind’n” for up to 24 hrs after listening. Dom delivers repeated lines in his usual rhymescheme over a beat that utilizes some scratching. I love anytime a producer throws this in there (part of why A-Trak’s live performances are so entertaining) .
Females is a common theme/topic of the album, with “Come Over,” “She Ain’t In Love,” “I Love Dom,” “The Ways,” and “Dream to Me.” This makes up the heart of the album so it takes over the vibe of it. Come Over and She Ain’t In Love have a 90s feel to em, with the latter mixing in a very cool synth. “O.P.M.” has a sexy chorus that gives it anthem potential.
The album’s also got its share of bangers. “Platinum Chanel” is one of the standouts, reminds me of “Designer Sh*t” from OGDK, aside from the obvious title similarity. “New Jeeps” was destined for greatness with production from Chuck Inglish and verses from Asher Roth and Mikey Rocks. Dom follows up with another feature, bringing Big K.R.I.T. along on “2mph,” and then again with “Beats, Hoes, and Rhymes,” which features Casey Veggies and Schoolboy Q. The last track, “Graduate,” ends the project in typical Dom fashion, although without as much as emphasis as his previous projects.
The feel of this album is definitely a lot different from Dom’s previous releases. Some babies are gonna be made to this shit. But it shows a little range of what he can do as an artist which is cool, and is definitely worth your money. Go grab it on iTunes if you haven’t already!
+jangbar
Tracklist
1. Dom’s Prayer
2. Grind’n
3. When I Come Around
4. Come Over
5. She Ain’t In Love
6. Money Don’t Stop
7. O.P.M.
8. Platinum Chanel
9. I Love Dom
10. The Ways
11. Mr Champagne Intermission (ft. Polyester)
12. Ice Cream Truck
13. New Jeeps ft. Asher Roth x Mikey Rocks
14. 2MPH ft. Big K.R.I.T
15. Beats, Hoes & Rhymes ft. Casey Veggies x Schoolboy Q
16. Dream To Me
17. Graduate
