The last time we’ve talked about Raushaus, they released their artist showcase last year. Those cuts showed a lot of potential in terms of style clashing and adopting the new styles of the western rap hemisphere. We chose to go inside the RausHaus, and looking inside those vibrant rooms we have a bunch of young lads making songs at the upper part of their bunk beds. The lads in question: Kennedy, a group of young up-and-comers. Recently, they’re on the uptrend in their circles for their newest mixtape titled “From The Top Bunk”. Out in the street, they run around with free verses while basking in the sun, waiting for the day to pass as their breezy choruses echo past the light posts. Their frequent frolicking in the ‘Best Boyband Since One Direction’ block may be at their arm’s reach. However, Kennedy liberating demeanor in ‘From The Top Bunk’ may have worn out their own welcome. Template after template, Kennedy’s group dynamics are executed with impressive results but the afterthoughts linger to a replay of the Saturation trilogy after a first listen or two. The lead single “m.i.a” is brimming with flows that are reminiscent in 99 Neighbor tracks and the nimblest verses before hitting the second half. Although, the singy-songy bridges aren’t on par with the skilled flows. The first two tracks, “s.y.m” and “tekken 6”, are nothing but style borrowing from one verse after the other. With every detail in the production paying good homage to BH’s producer team, the shelf life of these store-bought copycats expose the group’s longevity. With these influences being worn on their sleeves like a tight jumpsuit, groups like Kennedy are disillusioned with the cursed chemistry in boybands today that are prone to being impermanent footprints of a current generation. Similar to how Westlife was to Backstreet Boys or how Greta Van Fleet is to Led Zeppelin. These influences come at a cost and their identity as a group is at stake. Kennedy makes little to no distinction in being a boyband in the 2020s. However, their cloning doesn’t distort their songcraft entirely. There’s actual merit behind the blue makeup, faux puberty, and youthful stills. Whilst replicating the structure of the aforementioned boyband, tracks like “espana” and “always” actually pack a couple punches in both their hook writing and bar spitting. The former showed the group’s actual skill in multisyllabic and flow practices while the latter naturally flows so well with the hook, even the guitar lines complement the singing. Overall, ‘From the Top Bunk’ shows a lot of promise in the group. But that promise won’t be on a chokehold when the boys realize that they can be greater than their predecessors. This EP is a testament for their future releases, hopefully becoming forerunners of a generation that is about to be written in the midst of a lockdown. SUPPORT THE ART & THE ARTIST:
REVIEWS
TRACK REVIEW: VILLA MOB – TWO STEP
From the Windy City to the hummocks of the United Kingdom, Los Banos’ Villa Mob shuffles their cards and takes a step in the drill rabbit hole with their latest track titled “Two Step”. That gamble in the grimiest of trap forms doesn’t stunt the group’s growth entirely, it instead accelerates their material to the max. Crossing lanes from doddering trap to veracious footwork-inspired drill – or as they claim it via hashtag ala a marketing tactic:“#TagalogDrill”. But their presentation isn’t shown as pure novelty. Instead, the group pushes a cunning attitude. Furthermore, their loud social media genre sloganeering doesn’t only raise the stakes of their position in the so-called rap game, but it’s also their insistence on calling the competition off by pulling off a banging drill track or two. Gone are the resiliency rap and the business-oriented romanticism. This is biting and impenetrable rap as it goes. The drill goes harder as it constantly cracks down the music’s borders; rapidly changing the genre’s axis as not one but three individuals leap frogs a genre a thousand miles from its origin state. Villa Mob’s resident drillmeister Soulja444 isn’t on the rap hocus pocus nor generates a dramachine in the scene, coming out as the strongest verse in the track. He brings the crux of the subgenre in their local shores both rap and production-wise. He aims to re-calibrate not only for himself but for his environment. Soulja’s undoubtedly the ringleader of the group whereas he’s already mastered the craft. Jamina and Buensa however came from their soul-boom bap leanings. The track’s well within the wall-breaking bass and sharp lyricism. All three verses focus on overcoming each and every of their flaws as rappers. “Two Steps” pops fire and smoke with wobbly bass lines in courtesy of Soulja’s exceptional production. While donning the windbreakers and a facemask like a bunch of vigilantes, “Two Step” is a new beginning for the group; 2021 just called the arrival of drill and Laguna might be the territory to foster that movement. SUPPORT THE ART & THE ARTIST:
TRACK REVIEW: AJ Kee Hong – Sakin yan!
Written by Lex Celera What is there to love when it comes to hiphop music? There is always a constant need for the artist to carve space to be heard, to set themselves apart from the competition and “claim what is theirs.” In between this struggle for real estate in the attention economy, some artists might find themselves latching on to whatever sticks just to make their presence known for a little while longer. Sometimes it is self-gratuitous; often it is deliberate. More often than not, it results in formulaic drivel that sizzles out when rap moves on. For the genre as a whole, this search for gravity can be broken down into recurring elements you can see across different artists. For example: flute-based samples, true-to-life straight from the streets visuals, and rapid fire ad-libs. All of these are present in Iloilo City-based rapper Aj KeeHong’s “Sakin Yan!”, an exciting entry point into the young rapper’s burgeoning career. Set apart, these elements point out towards where Aj Kee Hong is looking at in terms of references, namely: Bugay na Koykoy and Miguelito Malakas’ reliance on music videos to portray verisimilitude through a definite sense of place; the distinct presence of flute instruments in hiphop (A$AP Rocky and Skepta’s “Praise the Lord (Da Shine)” as well as Shanti Dope and Skinny G’s “Peekaboo!” come to mind); specific ad-libs used by almost everyone from the late Pop Smoke to MaxyPresko. All of these creative commodities have contributed to Kee Hong’s aboveground recognition, rendered the way it was in “Sakin Yan!” . But the interesting thing about “Sakin Yan!” is more fundamental. Plainly put, the young rapper can rap. Kee Hong’s vocal delivery unpacks his electrically charged verses with confidence; each word flows well to the next without missing a beat. The fact that he can sustain this energy to release one song a week paints a picture of a hungry rapper trying to make his mark. While trendy motifs help launch “Sakin Yan!” into a gravity of its own, it’s Kee Hong’s more essential traits that keep its sheen lustrous. As with his previous releases, I’ve caught wind of Kee Hong through his laborious self promotion across several local hiphop Facebook groups. As I type this, I can imagine he’s busy producing the next, making minor tweaks on the way. “Sakin Yan!” is an entry point into what could potentially be a hearty contender in the hiphop landscape. SUPPORT THE ART & THE ARTIST: