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Hey what's up fam! Today we're going to be hearing from Black C.A.S.H. 1) How old are You? I'm 36 yrs old. 2) Where are you from? I'm from South Carolina 3) When Did music become important to you? It became important to me once I felt how freeing it was to be creative. And how being creative inspired others. 4) Did the streets play a part in you deciding to rap? Yeah of course it did. But even though I was in the streets at an early age I decided to not let things occurring around me or to me affect who I wanted to be. 5) What age did you start rapping/writing? At 10. I spit my first bars at 14, recorded my first song at 17. 6) Tell us about your influences Jada Kiss, Biggie, Tupac, Big L, Jay Z, 50 Cent, Lil Wayne, Jeezy, I could go on for quite a while. 7) What changes have you done to your style or cadence? I adapt my style/flow to any situation or instrumental. Over the years I've learned to evolve. And its ok to be yourself and to be original when I create. 8) Whats the music scene like there? The music scene here is underrated there's so much talent in my city that's undiscovered. 9) What's C.A.S.H. mean? It means Chasing.Anything.Sustaining.Happiness 10) What are your goals in the future with music? To build a solid brand. So I can continue to create and help other creative's. 11) is money a motivating factor/ What are the motivating factors? Of course its a motivating factor. In this day and age how could it not be? However, it is not the only factor for me. There are plenty of people, situations and things I want to accomplish that are motivating factors in my life other than money. And as we all know, nothing is truly free in life or this music business. So you gotta be able to make money to sustain. 12) Have you done shows or performed in front of anybody? Of course. No large venues or stadiums but yes I've performed my music. 13) How do you describe your drive? I describe my drive thru my lyrics alot so make sure to listen carefully and i promise you'll hear it. 14) Anything you want to say to those reading? A little progress each day adds up to big results. So put the spotlight on your own journey? It'll help you find your way to a happier, more successful life. As for bars, Black C.a.s.h. puts an old school spin on them, the truth, with new school flavor, as he tends to kill every beat or instrumental that comes his way. Now that we got to know the man behind the music, its time you clicked that player and get to him thru his music. Well that's all the time we have today, thanks to all who read the "ItzAWrapYo!" blog, you are the real MVP's! ItzAWrap Yo! - All things music - All things that pop! Thanks for supporting me, our community, and our artists love for music, YOU A REAL ONE 💯 Become a member of #TheWraps and you will have exclusive access to cool perks like shoutouts, exclusive members only badges, weekly members only live streams, and early access to unreleased content. You can also check me out on Indie Amplify and book a YouTube reaction today! Twitter - Instagram - YouTube - Merch - Donate - Indie Amplify

Welcome to our second Bad Haz Techno track review by Hegstraction and new guest reviewer, producer, DZM. We have a great track lined up for you, Loki's Flyting, the second track of four on the EP, On a Rocket to the Top, from Belgian techno DJ/producer, Tripple Motion (BE) aka Jens Willems. This EP is the twenty-third release on his own label, Army of Darkness Records. A little background on Jens, he showed a prodigious musical talent from an early age, playing the piano and drums, and the ability to play by ear. Later, he started djing and producing, making appearances at festivals and clubs in Belgium, specialising in dark and heavy industrial techno. For this track, Loki's Flyting, he focused on "rave vibes with industrial influences and dark atmospheres ... blending hard lines." For this review, I'm joined by new guest reviewer, producer, DZM. If you would like, you can play the track here as you read the review: H: "Welcome, DZM! Great to have you on board for our second track review. What would you like to start off with?" DZM: "Thanks for having me. Well, when I first heard this track I thought it was just going to be a very standard 'bish bash bosh' type of techno track, given the intro. But what I really like about it is that it ventures into all kinds of different directions, which I really love." H: "Right, for me, I like how this track just sets the pace from the start, and the signature moments for me are those Prodigyesque vocals. For hooks, that acid bassline arp gets my attention from the beginning, and then perhaps the vocal stabs - very memorable." DZM: "Yeah, so those vocals or whatever they are, really get me. Before that, as I said, it sounds quite straightforward, but when those things come in around 2:19, it just elevates the track. What is it, is it a yell, is it a slogan? I do not know, but it adds some mystery and colour to the track." H: "Agreed. Well, we might as well jump to those vocals right now. There are a few different I presume distorted vocal samples at work here, and they work well giving great atmospheric qualities." DZM: "Yeah, I love those things. I am usually not a big fan of vocals, but because they are so vague as you say, they add the atmosphere, aggression and mystery. What I think this track also does well is that I can see myself going nuts at this on the dancefloor, but it also works well for just headphone enjoyment!" H: "Haha, you're leading me off to other topics, but that's fine, we'll get to the kick at some point. I agree. This track is very danceable; the kick, the arp, the percussion, give you choices to move to. Every time I've listened to this, I've been dancing around my studio." DZM: "It is definitely trance inducing!" H: "Yep, it definitely has those trance-inducing qualities you're looking for, and I would want this in the middle of a set from the dancefloor perspective. OK, let's go back a step. The kick - nice, weighty, and I think well-measured with respect to the other elements of the track." DZM: "It's both punchy and sufficiently deep. Nothing to remark on this, but note I am not much of a kick connoisseur." H: "OK, on to bass. Not a bass heavy track, but the bass from the kick and acid bassline arp combine really well throughout." DZM: "It's fine; it's not what I particularly love about this track, but it works well enough." H: "I like all the different percussion coming in and out. Seems thoughtful. Lots of variation giving layers and texture." DZM: "This is also why the track just grows after those vocals, the percs increase, and there is just way more going on; it feels like the tempo increases. I always love those moments." H: "Alright, pads! In some circles, you are known as the 'pad' master, whereas, I am just a 'padawan', so I'll let you go first." DZM: "That's right! I love pads. These are so cool. It makes me a bit envious, because they are so minimalistic, but they just perfectly add to the mystery, which is created by the vocals; I wish I could do that. It's minimal, but it works so well, and this is also what I mentioned before; it takes the track somewhere else because it's very thoughtful and melancholic, which is just my jam, and so different from what you expect when it kicks off with the standard techno elements." H: "I knew you'd have a lot to say about that! I'll just add that the atmospheric pads coming in just over halfway provide a lovely contrast to the kick and arp - well chosen. Synths-wise, for me, this track is all about that arp, and whilst it's not particularly unique, it is blended in exceptionally well with the other elements of the track." DZM: "I would point to the pad; it's so subtle, and just does what it needs to do. I think that's great work on the synths. It sounds nice and analog; wonder what it is actually. I was wondering about that sound that comes after the pad. Is that a sample or a synth sound. Whatever it is, it is scary as hell, and works very nicely. I mentioned minimalism above; thinking about that more the whole track is super minimalistic and sparse, which if done wrong just gets super boring, but here it's done well." H: "Absolutely. As for sound design, it has all the typical techno building blocks done very well too." DZM: "Yes, it's minimalistic and executed well." H: "The layering does not seem highly complex, but the choice and execution is clinical, and I love it." DZM: "It's simple, but functional I would say." H: "For atmosphere, I think the warped Prodigyesque vocals give this track an aggressive atmosphere at times, where you want to just smash up that dancefloor, and then we also get the contrasting floaty pads, so you get the feeling of a journey taking place in the entirety of the track." DZM: "This track is all about atmosphere; it has tons of it, and makes it stand out." H: "I don't have anything in my notes about arrangement. You?" DZM: "So this is the only part where I have some qualms. Why do the vocals only come in after two minutes? I could have done with less of an intro, but that may be just me. Also, it is a bit of a journey, but it's also all sequential, so there could have been a bit more of a 'coming home' moment, like a drop, or wrapping it up by circling back to a memorable moment. That's probably part of the minimalistic approach though, and it works well enough, but I would have taken this a bit further, and milked the pads and the vocals more." H: "I think there is a vocal-like synth earlier on, but the longer ones come later as you say. OK, just a few more things to cover. I can't imagine anything different for the mixing; seems spot on." DZM: "It's sweet. Nothing stands out in a wrong way; we have mentioned the atmosphere, and from a mixing perspective, that is hard to get right. All good, and therefore, infinitely listenable." H: "As for mastering - no complaints. Sounds great. I measure the LUFS for all promotions, and this was around the average. It has plenty of dynamic range, but still enough punch." DZM: "I'll trust your judgement, haha." H: "OK, so let's wrap up with a final comment. Overall, it's a great clubbing track with lots of subtle changes giving variation. I've listened a bunch to this track, and can't imagine getting bored of it anytime soon; I would have a great dance to this in a club." DZM: "A really nice track; it's minimalistic, but it does not follow standard techno tropes - I love that." H: "Yeah, Tripple Motion (BE) has a decent size back catalogue, so I'd really recommend checking out the rest of his tracks. Well, DZM, thanks ever so much for joining me. What's your latest release on the go at the moment?" DZM: "Disparity just got released on the LAZEE DOG label - a melodic techno track." H: "Great. I'll check it out." You can check out Loki's Flyting and the whole EP on the following links: Beatport Junodownload Traxsource Spotify, Apple, YouTube, etc. You can also find Tripple Motion (BE) on social media: Instagram Facebook Twitter Thank you for supporting Bad Haz Techno, and we look forward to bringing you more in-depth techno track reviews in 2022.

Welcome to our first Bad Haz Techno track review by Hegstraction and guest reviewer, DJ & Producer, Peter Harich. We kick off this series with a fantastic new release, Thunder Oz, which is the second track of four on the EP, Whip and Lash, from Finnish hard techno producer, Jori Samarin. From Helsinki, Jori has a thrash/death metal background as a drummer, transitioning through hardcore techno, to hard techno over the years. However, this track has the versatility to span the spectrum between regular techno sets as well as hard techno ones. He "wanted to create a big atmospheric feeling" with this composition, and I think he definitely achieved that. "The lead sound formed while I was fooling around with some distortion plugins, and the melody was meant to be something different that I'm used to making. I feel tranquility in the distorted lead, and it brings me hope, everything doesn't have to be dark and evil all the time." For this review, I'm joined by guest reviewer, DJ & Producer, Peter Harich. If you would like, you can play the track here as you read the review: H: "What are your first impressions, Peter?" PH: "The first thing I thought was, hey, this is chill for Jori, something a little different to the regular hard stuff that he puts out." H: "Yeah, this is a really versatile track; it's hard techno, but wouldn't be out of place in a regular techno set, and also it has a soundtrack vibe. I could imagine it as the intro to a TV show, something like Vikings, for example. How about the kick?" PH: "Jori always brings the kicks; that rumble is always spot on. I would watch a master class on YouTube with Jori explaining how he makes his kicks." H: "Right, always a solid, hard kick from Jori, and this one has a nice metallic edge to it." PH: "I don't know if there is a lot of added bass to the track; that gritty lead covers it nicely." H: "Some interesting percussion to start with, which is always nice to hear something a little different from the norm, and then progresses into more typical techno forms." PH: "Yeah, fairly regular hard techno perc work. Feels slightly safe; I would love to hear Jori experiment with the percs a little more." H: "Absolutely. I think that goes for most techno producers to be fair. Let's see, pads?" PH: "Great warm lush pads which I'm a sucker for; I wish all pads were made in the 80´s, and then they just stopped making them." H: "Haha, the 80's! For me, great choice and execution of pads to give it that contrast, completes the atmosphere nicely. Alright, let's talk synths! The 'epic' distorted synths really make this track, creating a powerful atmosphere, and there is plenty of variation to keep it interesting." PH: "I've already talked about that gritty lead which is really nice. Lots of feels in it. Serum?" H: "Possibly. I think the melody does a great job of just sitting underneath the synth, and providing that contrast again." PH: "Never really gripped me, and I don't care. It's not a melody track; it's more of an atmospheric track, and the melody is just right for that." H: "There's some effective manipulation of delay and reverb, which hard techno producers are especially good at." PH: "That reverb. The only way it could possibly be better is if it was an analogue spring reverb. I forgive him though; it's a great reverb." H: "For sure. OK, sound design. There's some clever stuff here with how some of the atmospheric pads merge into the distorted synth, or at least seem to along with the melody. The variation on the synth too allows it to never get boring, always stimulating and energising." PH: "Jori never overuses the filters, which is great. Some producers filter the shit out of their tracks, and it gets old quickly. Jori uses the synths and the progression to create highs and lows instead." H: "Nice point. I'm not noticing much layering; not huge amounts going on here at any one time, but that's how it should be for a track like this." PH: "I actually hear a lot of layers going on because of the reverb and delays, but I don't think this is a track with 28 channels going on. Doesn't need it; the synths fill out the space nicely with that reverb and the long tails." H: "I probably should have talked about this earlier, but the hook(s) are pretty obvious here; the distorted synth and its variations get you from the start." PH: "The gritty synth is the hook, but the repetitive 2 chord pad is the star of the track." H: "And the atmosphere is really all about that distorted synth, and he gives the time and space throughout the track for it to be really epic in nature." PH: "Jori brings lots of atmosphere as always. Generally, hard techno producers are great at giving their tracks a lot of atmosphere. Us "peak time" producers have a lot to learn from that." H: "Let's just look at the overall arrangement. Nice intro. Maybe the kick could have come in a touch later. But overall, the intro doesn't give too much away before we really get to witness that huge synth set of releases. Then, it gets into a really nice groove with everything coming together. We get into a nice transition with some kick variation into a lull, and then we're off to the races again. We lose the synths as the outro starts and we get to hear that solid kick in a more exposed way." PH: "Nothing to complain about. The gritty synth, the warm lush pads, the rumbling kick, the frantic hi-hat and the little bass stabs are all there." H: "How about the mixing?" PH: "Probably the clearest I've heard of Jori's tracks; I like this clarity from him." H: "Yeah, less busy than usual. Actually, I'm a big fan of something sticking out of the mix in a good way as the distorted synth does here. The kick seems really well integrated into the track. Perhaps, the percussion could have been a little more forward earlier on." PH: "The mastering is loud. It's clear. It's balanced. Works in headphones and on studio monitors. It doesn't rattle my car windows, and it works in clubs. A lot of producers forget that most listen to their music on shitty sound systems, or in the car. So, it's important not to master just for clubs. This is a good job." H: "Yep, seems really well mastered. The first time I played this in my studio, the quality jumped out at me, and also for the remixes on the EP. Hmm, what else? I've got a category for trance-inducing, but I don't think it's that kind of track." PH: "I actually feel the pads; the pads alone can make me close my eyes. It's not a trance-inducing track per say, but I'm just a sucker for that warm lush pad." H: "As for danceable, I think it becomes more and more danceable as the track progresses, but this is the kind of track where you're on the dance floor taking stock of the set and where you are, or at least trying to, haha, and you may just be standing there taking in the glory of the moment." PH: "I'd personally use this track as a starter track; it becomes more danceable as the track goes on as you mentioned." H: "Any other comments, Peter?" PH: "This is a little different from Jori, but I really hope that he continues to explore this type of track more. When I play clubs or do mix sets for radio I prefer to stay in the 128-136 bpm range, and this kind of track from Jori allows me to use his tracks a lot more." H: "Yeah, the versatility of this track along with all its other attributes should make it quite successful I think. Well, that's about everything; what a great track! Thanks for joining me, Peter. Any new releases from you?" PH: "Actually, Rapid Eye Movement just came out last week." H: "Awesome. I'll check it out." PH: "Thanks for having me on." You can check out Thunder Oz and the whole EP with remixes from Cylotron and Electrostatic Nightmare Disco on the following links: Beatport Junodownload Traxsource Spotify, Apple, YouTube, etc. You can also find Jori Samarin on social media: Instagram Facebook Twitter Thank you for supporting Bad Haz Techno, and we look forward to bringing you more in-depth techno track reviews in 2022.

Happy New Year to one and all! 2021 was another busy year for Bad Haz Techno. We started off with the release of our first Bandcamp compilation, Hazardous Material Volume One, featuring tracks from 12 of our promoted producers. Over the course of the year, we had thousands of plays, hundreds of listeners, and many downloads; we really appreciated all of the support. Then, throughout the year we had 22 promo tracks go out on our mailing list to DJs, with new records being set time after time, in the '% downloaded after playing' stat, which is great validation for our talent scouting! In the latter half of the year, we also started a secondary promo mailing list focusing on minimal techno, and sent out the first 4 promos (Pappelallee, Chris Bernhard, Hegstraction, & Primaudia Record / TDC Tunes), which were all well received. On Mixcloud, we had a quieter year, but still put out 4 one hour sets thanks to DJs, Peter Harich, DJ Topcat, Many Elephants, and Electrostatic Nightmare Disco, with all achieving rankings in the various charts - 8th in the global Berlin charts being the highest. One of the sets was also our first radio show - BHT Radio presented by Many Elephants - and we hope to do more of these going forward. Finally, we expanded our Bad Haz Techno Spotify playlists to include, Bad Haz Minimal Techno, Bad Haz Warehouse Techno, and Bad Haz Hard Techno (a special playlist curated by Finnish DJ & hard techno producer, Jori Samarin). Throughout 2021, we have had continued support from Quest London Radio for our twice weekly one hour shows (Saturdays 8pm UK time & Thursdays 1am UK time), so a big thank you goes out to everyone at www.questlondonradio.com (Pete & DJMarz). In 2022, we aim to bring you more quality promos starting in February, from a new wave of up and coming talent, along with some established artists, and some old Bad Haz Techno favourites. Alongside this, the next 4 minimal techno promos are prepped and ready to go featuring Giuliano Rodrigues, Ramone Stallone, MAXIM and Shrieky. We also have a few potential projects that are currently being outlined and researched that may come to the fore this year - the first potential project is Bad Haz Techno as an artist, featuring tracks by a 'secret' producer. And more predictably, the second to be realised may be the label, Bad Haz Techno - watch this space! Finally, we would like to make more use of our blog spot, kindly hosted by LGTWO ( thank you!), to do regular track reviews, in order to help artists get more exposure through Search Engine Optimisation (SEO), and it should be a lot of fun too. Overall, 2022 is shaping up to be another big year. Thank you for your continued support, and we're looking forward to bringing you all more great content, and helping you discover new, up and coming, independent, and small label talent. Bad Haz Techno 2021 Promos (You can find all of these 2021 promos on our main Bad Haz Techno Spotify playlist.) 021 - Max Foley - Omega - 130 bpm "A tense hard-driven techno track built around a strong drum kick and supersaw." 022 - Jori Samarin - Revelations - 135 bpm "A hard techno track with a hardcore kick and dark melodies." 023 - Chris Bernhard - High - 126 bpm "A flowing techno track with dark undertones & sincere melodies." 024 - Sam Kitt - Fault Line - 132 bpm "A high momentum dark melodic track with driving basslines and a monumental drop." 025 - Hegstraction - Tempelhofer Feld - 140 bpm "A fast-paced experimental techno track with Viking techno beats juxtaposed with WWII & Cold War nuclear era sirens - intense, industrial, warehouse." 026 - Stevan Mandic - Arts of Living - 128 bpm "A peak time techno track with big dynamic transitions & hypnotic melodies." 027 - Techflex - Pangea - 135 bpm "A straight techno track driven by stomping kicks & harsh rides, underlaid with primal vox noises, & a warning horn you can feel in your bones as Pangea threatens to tear apart." 028 - Bufinjer - Evolution - 129 bpm "A sci-fiesque track bringing the old techno beat with a hard edgy bassline and some modern synths to round it all out." 029 - Gerard H - The Awakening - 130 bpm "A hard hitting style woven around unearthly sounds, dark melodies, and rhythmic stab-like synths." 030 - Dan North (formerly, BULLDOOZER) - Bunker - 133 bpm "A fast-paced track with several transitions building to powerful drops, complete with sirens, horns & dark undertones." 031 - I A N - Pearl - 135 bpm "A dark techno track combining mysterious melodies and energetic beats, creating a danceable tension that makes the atmosphere oscillate between these two opposites." 032 - Many Elephants - Explorers - Jochen Leef Remix - 130 bpm "From the same producer who brought us the epic Minima Alpha in promo 006, an atmospheric dystopian high energy track with inspirational melodies." 033 - Ramone Stallone - Ice Cube - 134 bpm "A dark progressive track with mysterious soundscapes & multiple 'ice cube' samples." 034 - DZM - Gorgeous - 130 bpm "From the producer who brought you the epic acid track, The Worm, in promo 002, here is another peak time/driving track laced with heavy atmosphere and draped in emotional undertones." 035 - MAXIM - Ilusion - 154 bpm "A hard techno track with dark industrial elements, and acid fluctuations." 036 - Sensory Deprivation - Reborn - 150 bpm "A hard techno track with demonic warbling basslines & frenetic rhythmic percussion." 037 - Peter Harich - Maximum - 131 bpm "A techno track in the modern classic style with building anticipation & futuristic sci-fi vibes." 038 - Vilko - Dancing With Chimeras - 129 bpm "A peak time driving techno track with dark warbly bass & energising melody." 039 - Pulsenoizer - Strong - 128 bpm "A peak time driving techno track with dark sci-fi elements, sanguine melody, rounded out with acid layers." 040 - Hegstraction - Airlock - 132 bpm "A dark, industrial, sci-fi track with a supersaw bass building tension to a release midway through." 041 - kollevinsky - Shivering Truth - 138 bpm "A driving techno track brimming with energy, acid melody, and atmospheric soundscape." 042 - Ian McCoy - Stoned Washed (Remix) - 138 bpm "A driving techno track with dark complexity and hypnotic frequencies." Bad Haz Techno 2021 Minimal Techno Promos (You can find these on our Bad Haz Minimal Techno Spotify playlist, along with many other great minimal tracks.) 001 - Pappelallee - Weird - Unweird Mix - 122 bpm 002 - Chris Bernhard - Stasis - 126 bpm 003 - Hegstraction - Tableau 1: The Minimal Series - 128 bpm 004 - Primaudia Record / TDC Tunes - Tenacity (Future Never Cut) - Extended Mix - 127 bpm Bad Haz Techno 2021 Mixcloud sets Bad Haz Techno Spotify Playlists Wishing you all the best in 2022 from all of us @ Bad Haz Techno :)

In this new era of sedated, depressed, and lyrically challenged rap music, finding an honest rapper with bars, messages, and an articulate yet rhythmic flow is near impossible. Let me help you by introducing you to JLaw. Coming up in the 80s and 90s in Bed Stuy, the same neighborhood BIG grew up in, street conscious boom-bap rappers would instill in J a moral obligation to always keep it real. Honest. I had the opportunity to sit down and ask J a few questions to try and get to know the man behind the music. Here's how it went down.... Where did you grow up? I was born in the Bed Stuy Neighborhood of BK,NY. At 14 I moved to Atlanta, GA and am currently in the ATL. Do you remember you first experience with music? Yea I remember chilling on the block during block parties and hearing music like Run DMC, KRS One, Wu Tang and a lot of other dope mc's and groups. When or why did music become important to you? Music didn't become important to me until I moved to the ATL. I ended up living in predominately white neighborhoods due to my mothers first marriage. Being the kid who couldn't fit in became the next chapter in my life. That's when I discovered Tupac's music. Was there an event or a song or something that sparked the idea that you could make music? Discovering Tupac changed my entire life! My entire world. It was Pac who inspired me to want to write and record music. I practiced for hours everyday listening to Pac. That's most likely why people say they hear him in my voice and in my music. As much as I try to bury that within myself and be who I am as an artist, Tupac raised me! So on your first date with that thot we call RAP, how old were you and was it dope or was it trash? My first attempt at rapping wasn't bad at all, I was around 14 and listening to the GOAT's music all day everyday. I knew how to stay on beat, and put emotion into my voice. The only problem I had was the equipment. I had this busted karaoke machine that could record but it sounded like hot doodoo. At what point did making Hip-Hop become a vision? When I decided to record again. Except this time would be in a professional studio. Pro gear, an actual soundproof booth, producers and engineers! The moment I heard my first professionally recorded and engineered song called "Static" ft. The Prayza I knew it was possible to try and take my craft to the next level. What was your first actual drop? My first ever drop was a track called "No Mercy" the 1st and only single from my first attempt at making an album. Straight off that karaoke machine on to a cassette tape. What was it like developing a style? Developing my own style took some real effort. Knowing that every time I opened my mouth on the mic sounding exactly like Pac wasn't going to work. Especially if I were to even think of doing something with my music. My own style eventually developed into how I write. What was the grind like from then until now? Completely different now than it was then. Now I write and record whenever I get the motivation or inspiration from something or someone. What do you ultimately hope to achieve through your music? Now, my ultimate goal is to create content for myself as therapy and for the love of Hip-Hop. I also want to keep creating content for all those who my music has helped. For all the people relating to the things I've written up to this point. If my music just happens to reach a little further then it is now, that's when a turning point can occur for the purpose of what I do. The catalogue. How many projects do you have published? 3 Albums with a fourth and fifth coming in 2022. These two new projects will be the epitome of who I am as an artist, what my music is and always will be. What's "Honest Music"? The definition of Honest Music lies within the artist themselves. For me Honest Music has always been about telling the absolute truth in what I write about. Whether it's a storyline about me, or life in general. I believe people deserve to hear the absolute truth when they listen to my music. My music isn't about record sales, it's about reaching out to help anyone who needs it. ~JLAW Follow JLaw HonestMusic YouTube - Spotify - Twitter - Instagram ItzAWrap Yo! - All things music - All things that pop! Thanks for supporting me, our community, and our artists love for music, YOU A REAL ONE 💯 Become a member of #TheWraps and you will have exclusive access to cool perks like shoutouts, exclusive members only badges, weekly members only live streams, and early access to unreleased content. You can also check me out on Indie Amplify and book a YouTube reaction today! Twitter - Instagram - YouTube - Merch - Donate - Indie Amplify

Stumbling across EDM music by mistake when he was just in high school, 3Hearts would discover "Avicii" on YouTube and inspiration would strike! 3Hearts would run out and purchase the demo version of "FL Studios" and embark on his very own journey through sound! 3Hearts decided he would finish his studies in Bolivia and in 2017 would travel to the US to pursue a musical career, earning a degree in Audio Technology at the SAE NYC. Finding himself in the "DMV" area 3Hearts is consistently creating and publishing full length songs, independently, produced by him, performed by him. Let's take a listen to "Fire O.A.", one of 3Hearts first songs he would vocalize on. Go ahead and click the preview below. Fusing trap, soul, and electronic elements, inspired by the trap/soul stylings of Bryson Tiller, Fire O.A. seeks to create an air of mystique and intrigue. Set in the middle of the night and against a dark and starry sky, the visual paired with the instrumental achieves just that. A sort of romantic wonder if you will. Smooth thumpy bass and a sexy melody compliment the soft fluidity of the vocal track, adding even more layers of mystery to this peculiar sound. With around 50 published tracks its clear 3Hearts is not stopping until he's a recognized producer in the independent community. Looking forward to see how far 3Hearts takes his craft. Check out "Fire O.A." on your favorite streaming platform today! Follow 3Hearts SoundCloud - YouTube - Spotify - HyperFollow - Twitter - Instagram ItzAWrap Yo! - All things music - All things that pop! Thanks for supporting me, our community, and our artists love for music, YOU A REAL ONE 💯 Become a member of #TheWraps and you will have exclusive access to cool perks like shoutouts, exclusive members only badges, weekly members only live streams, and early access to unreleased content. Twitter - Instagram - YouTube - Merch - Donate

Enter a world full of positive messages, delivered by a voice masking wounds of many personal battles fought. What you will discover is a magic that is known as Ms. Charley Young. "I Want It Now", for me, is Ms. Young saying "This is me. I won't let you change me." Throughout the video, we see Ms. Young seemingly trying to get back to a previous version of herself, a different place and moment in time. Chugging guitar and galloping percussion seek to set the tone of this mini "western/sci-fi" flick, coupled with the awesome cinematography by Emilia Mendieta Córdova. The video keeps the listener right at the edge of their seat for the entire length of the track! (I played it back 5 times in a row before I could stop!) Fast forward a few months and around 5k streams later and Charley wants to shake things up a bit..... September 2021 an epic tweet hit the Twitter timeline stating that on October 8th at midnight an "I Want It Now (People Of The Parallel REMIX)" would be dropping. WHAAAAAT?? People is known for his innovative sound design and mixing skills, production from People is not genre bound, transcending and fusing genres across the board, this announcement would light up indie Twitter and get folks hella excited for what this collaboration would be like. Epic. People Of The Parallel would completely rewrite the musical composition and rearrange the vocal almost entirely. He knocked the bottom end clean-out allowing him to build and drop in a most unique way. Adding to the high end some synths and other fancy stuff that I can't pronounce. Rearranging the vocal in a way he would emphasize one line while staying true to the original stems, in Charley's own words "He was able to really draw out the feeling and spirit of the song. He was able to encapsulate one particular line so well that I actually named my EP after it; "It's Always Been ... Just Me" Which IMO is the message she ended the original track on. (The final product is an absolute masterpiece from both artists!) With news outlets covering this epic collaboration calling Ms. Young a "Pop Powerhouse" it's clear she's on her way to a successful career in the industry. With her main goal being to use her experiences, positive and negative, to reach others who might be able to relate and find some healing in the music, her head and heart are in the right place. I look forward to everything the future brings Ms. Young and all the amazing music she has in store for us! Follow Charley Young Twitter - Instagram - Facebook - YouTube - Spotify - TikTok - BandCamp - Apple Music Follow People Of The Parallel Twitter - Instagram - Facebook - Soundcloud - YouTube - Spotify - Apple Music - Jamendo ItzAWrap Yo! - All things music - All things that pop! Thanks for supporting me, our community, and our artists love for music, YOU A REAL ONE 💯 Become a member of #TheWraps and you will have exclusive access to cool perks like shoutouts, exclusive members only badges, weekly members only live streams, and early access to unreleased content. Twitter - Instagram - YouTube - Merch - Donate

Artist Exploration Diamond Lounge - bright and relaxing. If you like funk synthwave electropop then this is the group for you. Their reach is pretty significant, too given that most of their tracks have some sort of feature for their vocal samples. Overall, these are very competent arrangements lacking the numbers they deserve. Diamond Lounge brings a few elements to the table worth looking into. Strip away the vocal features and what you've got is still some pretty impactful synthpop. In terms of things like musicality, there are plenty of neat chords and sequences to enjoy. Synthesizer-wise, they have a good feel of what fits into the mix and what won't. Bass riffs are always in the sweet spot - there's just enough movement in all the behind-the-scenes to give the listeners something to grab onto. Mixing seems to be really well throughout the whole thing. Every once in a while I could have asked for a little more vocal compression here or some mix leveling there, but songs like 'City Lights' make me eat my words. 'City Lights' is an interesting composition from Diamond Lounge. Fused with little elements of funk coming from Luc on the Guitar, Aaron meets him with some traditional R&B style chords. The pop vocals from OTYSEE bring it all together to give us this funky, almost lo-fi, synthwave experience. It really feels like that, especially when you are just *listening* to the song with nothing going on around you. The entire catalog has this ethereal presence represented by spacious reverbs and buoyant high melodies that bob on top of everything below it. In this song, it could be artistically interpreted as the "city lights" (I'll take my Pulitzer now) in this song, but I think it's more of an homage to the "Diamond" part of Diamond Lounge regardless of intent or purpose. Another one that I had a lot of fun listening through was 'There for You'. Don't ask me why but I definitely started thinking about the 2008 'Speed Racer' film featuring Emilie Hirsch. The beginning of the final race scene actually. Don't believe me. Here do it. Mute the Speed Racer clip and Play 'There for You' by Diamond Lounge and watch 'Speed Racer' for a second and tell me that it's not an almost perfect fit. I don't own the clip. Aside from that, it's got more near perfection EDM music with great vocals that complement the mix. Nitpicking here a little bit I think the vocals could have been on top of the mix a little bit more, especially in the spoken part, but that's one of those things I don't think most people would even notice. It's genuinely a great track to just enjoy - whether it's a long drive or a rainy day in the living room. I could even see this popping up in DJ playlists. Like most of Diamond Lounge's songs it has the ability to be cut and sampled, even played, and remixed with something live. That's another reason I'm really excited to see what comes of Diamond Lounge's music in the future. Overall, Diamond Lounge has gotten the act of hiring, or at least collaborating, down to a T. The best part about it is it's not done in a way to conceal any shortcomings on their part - it's quite the contrary. They find others who see their vision and are prepared to contribute something to that as well and it works. Make sure you give Diamond Lounge some love below and add some of your favorite songs to your playlists - especially your feel-good ones. I'm looking forward to many more to come! And if you made it this far, make sure to like this write-up and even comment on what you thought about Diamond Lounge. If you liked this review be sure to head on over to Can's Headphones to check out some of the best music reviews in the independent music scene. You can also just Contact Can's Headphones directly and get right down to business.

SVINT 710 SVINT 710 is a 22 year old rap artist from Albuquerque, NM. Bringing a different flavor to the game, SVINT and long time friend Newcomb, join forces to give us a unique fusion of Jazz/Trap/Bap instrumentals co-signed by an aggressive, punch-heavy, yet smooth and harmonic flow that only SVINT can deliver. Despite being inspired by your favorite rappers, Eminem, 50 Cent, Outkast, Bone Thugs & Harmony and many others, SVINT's main influence on his rhymes is life itself, conveying what life looks like through his eyes, and experiences. Painting the listener an audio mural of what life is like for a 22 year old man in today's society. Consumption of music began as early as a baby for SVINT, his father exposing him to the artists i mentioned earlier and other styles of music like Skynyrd, Alice In Chains, Slipknot, and many other rappers and rockers, which helped develop his musical tastebuds. Forming a small group with some friends at school, they would tag themselves "$VINT$QUVD". Our guy would write verses for his homies and would eventually start practicing and remixing them in private. It wasn't until he met Newcomb, the founder of an after school music program that gave students something to do after school by allowing them to practice and record their songs, that SVINT would pick up a mic and actually record a song. To date, SVINT has released 43 tracks on the Rhythm Righters YouTube channel, with a dozen of those featuring super talented artists from around the country like Newcomb, Homeboy760, Roman365, Erston and others! While improving and evolving his craft with every release, SVINT 710 is definitely lighting up the underground! Check out the oddly calming, yet terrifyingly aggressive music that is SVINT 710 by smashing play on the link below! Buckle up and enjoy the ride!

Bad Haz Techno (BHT) invites you to check out their first techno compilation featuring a select group of BHT promoted producers. 12 techno tracks from 12 producers, each bringing their own unique sound design to the techno genre. With bpms ranging from 124 to 137, and track styles from current classic to progressive, to those with hard, dark, and industrial elements, there is something for everyone. See the producers involved below with track descriptions. Enjoy! Hegstraction DZM Electrostatic Nightmare Disco E1GHTH PLACE Skaarl Cylotron Komotive Peter Harich Chris Keya klimaschreck Karnevor Many Elephants This is a Bandcamp only release with all tracks being exclusive to Bandcamp for 3 more months - HALF PRICE / 50% OFF Check out each track below with a pithy description from the producer: 1. klimaschreck - Zweitausendzwanzig - 128 bpm "2020 was a bad year for a lot of people if not everyone and mostly for the same reasons. This track tries to capture that year's feeling of waiting and when this will end since it was and still is a steady up and down of feelings and emotions, not knowing what comes next and lays ahead of this road filled with small pebbles and stones hurting and hindering you going forwards." 2. DZM - Distant Lights - 128 bpm "Distant lights is a deep techno track with dreamy pad and synths, driven forward by a hard rumble kick and infused with a set of wonder by an old school rave vocal." 3. Peter Harich - Inner Peace - 136 bpm "Pacey and raw techno track with a groove that drives the track forward towards a tranquil arp. Fast yet peaceful." 4. END - Badhazman - 130 bpm "I wanted to keep it dark, as is my style, but also to show a little humour and melodify it up a little to fit in style with some of the other guys. It's also officially my second song as it's the second release to feature my (heavily manipulated) vocal talents." 5. Karnevor - Strole - 130 bpm "Super minimal old skool German style techno track. It has freaky panning crazy head mash vocals mixed in with a mashed up beat that will take you on a journey in the style of "It's 2am; do you know where you are?" The kind of mental youth antics you got up to in your 20s, so please enjoy this trip down memory lane!" 6. Komotive - Ruinenlust - 137 bpm "Ruinenlust - A German word to describe feeling irresistibly drawn to crumbling buildings and abandoned places. This brings back memories of the techno from the previous decade synonymous with the techno underground scene." 7. Cylotron - Black Hole - 128 bpm "This is a track intended to put you in a state of hypnosis ... you will trip out to the warbly bassline." 8. Skaarl - Mind The Gap - 129 bpm "Trying to be like some kind of 90's vibe, made for the DJ not the Spotify playlists, like what I want to play in a set with some rolling basslines and snare fills." 9. Chris Keya - Vorstadt - 130 bpm "Vorstadt is a dark techno track with acid and ebm influences, reflecting the signature Chris Keya sound." 10. E1GHTH PLACE - The Soul in the Machine - 130 bpm "Modern techno with a futuristic fusion that builds up to a hard-hitting, powerful yet intense sound. Dynamic, profound, surreal, yet bittersweet." 11. Many Elephants - The Regret Engine - 124 bpm "The Regret Engine was written as a concept piece for an imagined science fiction film soundtrack. It has the idea of a machine designed to feed off of negative energy and convert it to positive, but the imbalance it causes has unexpected consequences for the human race." 12. Hegstraction - Kármán Line - 130 bpm "The Kármán Line is agreed by some to be the partition between the Earth's atmosphere and outer space. This track is an attempt to audiolize the passing of a space shuttle through these various high altitude atmospheric layers." Check out the full compilation below: If you are interested in hearing all the tracks together in a mix, check out our Mixcloud set by Peter Harich: