I find it quite refreshing that in addition to sustaining the music scene, through beat making and sound engineering – Producers are finding their fame.
I make mention particularly because South Africa has had the pleasure of listening to dope records over the years – but more often than not, Producers go by unnoticed. It has been very rare to see Producers represent their own work in the bigger scope of the scene – unless of course, they are somewhat embroiled in a scandal.
The vocalists have always been the stars shinning bright like diamonds. The Producer only ends up as prod at the back of the cover.
Good things though, that that is coming to an end. Now we see producers claim their work by releasing tapes which are beat oriented, in addition to featuring complementary vocalists. Quite an interesting switch – the emphasis is placed further on the album attributions. Producers are explicitly featuring vocalists – all the while directing all that shine their way.
I mean, look at what Speedsta did on Mayo? Prior that hit single, he wasn’t prominent a DJ, much less a producer. Also, Sphectacula and Naves as well as Capital have somewhat adopted Khaled‘s scream your lungs out in proclamation of self in almost every song – that taking the lead, and then of course a feature of a variety of artists.
Now let’s bring it home – producers are on a real come up, savage about their time, and religiously fixated on computer screens mixing and mastering. The only language is Fruity Loops, Premier Pro, and Pro Tools – anything outside of that is blasphemy.
Eastern Cape is rising to the occasion with producers like Rez Tshishonga and Arno Steez wrapping it up for the scene – and creating creatively compelling sounds.
EC has had the pleasure of being exposed to another hit maker producer, who in his very modest words, said not to be compared to Khaled because he’s a God. Otherwise known as DaBlxckGod, Siya Dlulisa – originally from KWT, recently dropped a tape titled D.R.U.G.S. And no, not those drugs. It reads: Do Right Under God’s Sun. Yes, ponder that for a bit…
The tape is a something finger licking good, and if you’re an avid listener of trap music then I would suggest D.R.U.G.S as part of your playlist. I enjoyed that it has a bit of everything, for everyone. And because I am a certified grab and pull (not my words) music kind of listener, it only makes sense that the first song which caught my attention is Leaving featuring Siba Tsomo and Mudita. I especially love the first half of the record, the vocals complement the beat and its pauses very well, and then the drop escalates the vibe – DaBlxckGod kills it to I’m leaving, leaving, leaving… There it calms down, just to remind you that this one for the feels.
Okay, now that I’ve go the excitement out of the way, the intro..
They say don’t crack under pressure, but you be conscious of strangers – this one is for the lyrical fanatics, to the Kendricks of conscious raps – this one is a special dedication. The Thiird eye bumps heads, with that slouch back behind the wheel flow. I love its flawless aggression and provocative lyricism. This is a punchline record, carefully calculated.
D.R.U.G.S, placed as the second track on the tape, sounds like it adopted Drake’s Language baseline – I am quite certain. This may have been a subconscious decision, whatever the case, when I listened to this one I immediately thought of Language. Sample, no sample?
Overall, the tape is a really great effort, DaBlxckGod outdid himself here – and if this doesn’t draw attention to his craft, I don’t know what will. Young as he is, I am sure AF that he’s a producer well on his way to this life of fame and bottles and everything in between.
- The Thiird Eye
What’s your take? Let us know in the comments.