Supa Bwe continues to prove that he is a master at both producing and rapping with his new track Moon Goddess. The beat features a sample of the hook from Bell Biv Devoe classic Poison. This isn’t the first time Supa used the title “Moon Goddess”, he released the first “Moon Goddess” with Qari and Mulatto as the Hurt Everybody trio. Hopefully Supa brings back the goddess series and puts this and many of his other different sounds he has on his up coming project “Finally Dead” droping soon. Listen to the track above.
A few months ago, I wrote a little article for Chicago based blog These Days about an indie rock group called Homeshake. I originally found their music through my younger brother, but later bonded with Qari (of Hurt Everybody fame) over our shared love for the group. He told me he would be releasing a Homeshake flip soon, and yesterday he delivered on his promise.
“My House (He’s Heating Up)” is Qari’s take on the bubblegum rock record “He’s Heating Up” by Homeshake, where he displays his displeasure with people who’s company he doesn’t being at his house. Qari’s impressive rhyming abilities are again displayed throughout the tracks two minutes in his cool and calm relaxed delivery style. If you’ve been paying any attention to Qari’s solo music since the Hurt Everybody split, you’ve probably begun to notice Qari’s tendency to resort to less is more, unlike the usually very live vocals on Hurt Everybody records.
Peep “My House (He’s Heating Up) above and make sure to follow Qari on Soundcloud. There will be tons more awesome music to come from this young artist.
SolarFive and Supa Bwe go crazy in their new collaboration, “Stevie Nicks.” They spend tuition money on just about everything but school, it’s punk rock in attitude and a release to jam to. Stay posted, lots of big things are coming soon from both SolarFive and Hurt Everybody.
“Whatever direction a song goes, my intention is to connect, whether I’m in love or angry, I try to transcribe that feeling with sound. When I really focus on the music, I see different shapes and colors; figures, people, even memories that become a bit distorted, almost like thinking back on a dream.”
19 year old Chicago producer, Noah Sims, begins to tell his story with the release of his compelling debut project, Testament, premiered via DJ Booth. “1741” is the introduction and only instrumental on Testament, it is a deeply meaningful track to Sims who made it by sampling a recording produced by his late grandfather, Geoffrey Fushi. “1741” centers around the violin playing of Noah’s friend, the two-time Grammy Award nominee, violin virtuoso Philippe Quint, who performed on one of the most prized violins in history for the recording – the “Vieuxtemps” Guarneri del Gesu, made in Italy in 1741.
From the classically inspired beginning, Sims moves forward a few hundred years to Chicago and hip hop enlisting several of the city’s top and rising rappers. The lead single, “Godbody,” appropriately features an intense Roosevelt The Titan who is one of the first rappers Sims ever collaborated with. The next single takes us to “Hawaii” and was premiered by Fake Shore Drive. It is innovative and a standout song on the project, it’s Noah’s first collaboration with Beach Jesus – both with co-production by Jaro & Seer and excellent lyrics and vocals from Chando and Jommis. Carl and Supa Bwe of Hurt Everybody also contribute stirring, dynamic verses, “Hawaii” is a triumph in collaboration. MC Tree handles the third single, “She Gets The Best Of Us,” with masterful rap and finesse over Noah’s club ready beat, it premiered via Pigeons and Planes . Roosevelt The Titan, Reckless C and Ethos feature on the powerful and spiritual “King,” which seems to span time. We hear Moon & Ju on the smoky “My Way Home,” the two are currently pursuing solo endeavors and it’s good to listen to them together here, orgenA collaborated with Noah on the instrumental. Beautiful singer Kaina appears with sultry vocals for the airy “Again,” her performance and lyrics are rich. It is rare to hear Logan over production that isn’t by Flight, on “Nothin’ New (I Expected This),” Logan goes in, he is gritty and raw and it’s one of my favorite tracks by him. The project closes with the fresh, ethereal “Calm The Fuck Down,” where Roosevelt is joined by LA based musician orgenA – Rose absolutely kills the first verse, then orgenA comes in and takes it to a sunny and different place. Testament was recorded at Classick Studios and at Hurt Everybody studios. Chris Classick mastered it and handled most of the mixes. The front cover is by painter Aaron Kraten and the back cover is by musician/artist Abel Gray.
Noah Sims displays a broad range of styles from cloud rap to classical while passionately telling the first chapter of his story on Testament. I look forward to hearing more. Noah is performing alongside Banks The Genius, Roosevelt The Titan, SoloSam, Anak1n and Pat App on Dec. 2 at an event titled, 20 Below, the first show presented by Columbia Music Collective at Conway Center at 7:00 PM.
“Dream about school in the halls full of fake friends
We don’t shake hands, never did, we don’t make friends
I don’t say grace but my bro’s yellin’ amen”
Sir Collins linked with 2/3 of Hurt Everybody for “Wit Me,” the second single from his upcoming EP titled, Ready Or Not. Supa Bwe features over production by Mulatto Beats resulting in a track that got me looking forward to hearing what Sir Collins has planned for his project. Collins sounds aggressive and intense, I’ll be getting with his music. It’s a treat to hear new Supa Bwe, it seems like it’s been a minute, but that’s only because he’s so prolific, he put out a whole project, The Dead Occasion just a month ago. Enjoy “Wit Me,” and get prepared for Sir Collins’ Ready Or Not coming soon.
“Got a dark skin girl, sing like Toni Braxton.”
Supa Bwe released, “Toni Braxton,” which until this week, was a secret single from his extremely dope solo project, The Dead Occasion, which he generously gave to the world on his birthday – 10/4. He sings about all types of girls on this song that he produced, recorded and mixed. Stay posted, a Hurt Everybody x Mick Jenkins EP may be coming soon. Head to Milwaukee tonight, Oct. 22, for the Hurt Everybody and WebsterX show at the Miramar Theatre.
“Damn, I feel just like my birthday cake, lit”
Happy 10/4! Supa Bwe’s birthday is a holiday for Hurt Everybody fans already, but then he adds to the celebration for the second consecutive year and gives us music. Everybody eats! This year it’s a full, 11 track mixtape, The Dead Occasion, and “This shit a movie, damn!” There are the distinctive Supa trademarks and flows, but he’s a futurisic and restless musician that always keeps it moving forward, pressing boundaries, buttons and delivering new sounds. He recorded and mixed the whole project, handling much of the production himself, with some assistance from Mulatto Beats, ChurchDontStop, Samii Beatz and Kenny Charles. The features are delivered expertly by Carl, XVRHLDY and ChurchDontStop.
I hope by it’s conclusion you walk away with a solid idea of what this is – this lifestyle, this journey, this conquest, this mission… Me. – from “Pixar”
Supa’s music is like a multifaceted diamond, with edges made of passion, aggression, light and darkness – like a whole person. He wants to compare scars. He sings “Everybody hates me, but I’ll save the world. Lonely, lonely as I unfurl” on “Jon The Crow,” then speaks of squad in “Fidelity,” saying “My n****s stay with me.” The Dead Occasion is hot all the way through, I can’t really pick fav tracks and want to quote him all day. A few outstanding moments for me are the mood and monologue of the introduction, “Pixar,” the sequencing of the excellent “Dogs” to “EAT” is pure drama. I love “They Be On What They Be On,” one of the most accessible sounding songs on the project. He shares knowledge and insight on “Contacts.” Deadicate yourself to the whole The Dead Occasion.
“I’ll show you the right way
Pass the torch.”
Supa loves his hypnotic hooks, coupled with a Drill-esque flow and the auto tuned backing vocals you know that “EAT” is a banger meant to rattle some trunks. Qari comes in after the breakdown with his subtle slick wordplay; first easing his way into the verse with some auto tune then enthusiastically claiming “Everybody Eats!”. This track is another Hurt Everybody banger & the First single off “The Dead Occasion” which drops October 4th.
I’ve been hurt
I’ve been killed
I’ve been broken
I’ve been empty
I re upped
Okay, I’m reloaded
I will not lose
“Noah Sims speaks with urgency, but does so in the most subtle of ways. Downbeats echo as they anxiously snap into place; synths buzz restlessly atop ethereal soundscapes. On “Hawaii,” from Sims’ debut Testament LP, the Chicago producer tells a story of strange pasts and promising futures without speaking a word. Welcome to “Hawaii”… The song moves frantically but with an overlaying sense of acceptance and ease. Hurt Everybody and Beach Jesus tell free form stories: corpses get handshakes; pretty girls turn to visages; yearbooks are shredded; blood is drank freely at happy hour. It’s an eerie, surreal affair, but one that Sims commands with unflinching nerves. “Don’t stress, it’s a celebration,” a moody Carl delivers in the song’s second verse. Proceed accordingly…” – Steven Goldstein
Strong flex til I pop somethin’
Strong flex til she pop somethin’
Long text and the explanation
Strong flex and some levitation
Don’t stress, it’s a celebration
The official roll out for Testament by Noah Sims begins with “Hawaii,” premiered via Fake Shore Drive. It’s an emotional and uniquely structured song that brings together post-rap band, Hurt Everybody, and Baroque Dream-Hop quartet, Beach Jesus, for their first collaborative release. This song demonstrates Chicago working together all the way around; “Hawaii” is one of the only tracks on Testament where Sims co-produced; here with Jarofmy and Seer of Beach Jesus. The track musically reunites Carl with former Supreme Regime band mate, Jommis aka Jessiath. This is the second collab for Sims with Supa Bwe and Hurt Everybody, he produced “Snake Charmer” from their I Know Where The Light Goes EP. Visual artist and musician Abel Gray made the cover art. The song was recorded at Hurt Everybody Studios and Classick Studios, and was mixed and mastered by Chris Classick.
On a personal note, I’m proud of my son Noah and his debut project – I’m excited to write this. Testament has been long in the making. Several months back Noah released GodBody , a track from the project, featuring long time comrade, Roosevelt The Titan, to announce the LP. The next single, “She Gets The Best Of Us,” features Tree and drops on October 6. Until then, let the “sun-soaked, paranoid opening lines of a young man’s Testament seep into your head.”
Fuck all these charges the judge is a liar
Cause I know the laws to a nuance
I don’t have time for this
Dig out my yearbook and rip out my picture like coupons
Please get me outa here
– Supa Bwe
Trying to make sense of the way that I grow
And the people I know that don’t do fine
I am the soup and the blood of your Christ
I’m the one that you drink after noon time
It’s five o’clock somewhere
Trapo has a deep, gravelly, hard hitting voice and mature musical instincts. He’s just begun his senior year in high school, but he doesn’t sound 17, he sounds grown. Complex stated, “Trapo’s aggressive yet melodic rhymes are a refreshing sound.” He consistently chooses soulful or jazzy beats, often driven by melodic piano, that make his rapping stand out while showcasing his impressive singing quality. The young artist has good taste and substantial lyrics that are direct and insightful. He dropped his first song on soundcloud less than a year ago and he’s accumulated nearly 500,000 plays. Trapo still records and mixes everything himself at his home studio. He’s only performed at a handful of shows but is making an impact in the Midwest and beyond.
The past month has been big for Trapo: He got his first premieres in Complex and Pigeons and Planes, was named by P&P as a Best New Artist of the Month in August and made their prestigious list, “20 Under 20: Teenage Rappers You Should Know.”
I first heard Trapo via “Poloroids” a collab with Chicagoan XVRHLDY, and then noticed co-signs on Twitter from several notable rappers including Alan Kingdom, WebsterX and Hurt Everybody’s Supa Bwe.
“WebsterX kinda reached out before my first big premiere, the “Cards and Conversation” song. He’d heard “DUI,” and liked it. I knew of him, but didn’t realize how big he was getting and both of us are in Wisconsin. After “Cards and Conversation,” Webster was really supportive and Alan Kingdom reached out and tweeted the song.”
I called Trapo on September 4 to conduct his first interview. He told me that he’s been singing for about as long as he can remember and started rapping in fourth grade.
“I’ve got stuff on youtube from when I was so young, I could even show you, my lyrics were crazy for being so young, I was around 14.”
He began to take rapping seriously about 11 months ago when he posted his first track on soundcloud.
“After the first track, I knew I wanted to follow up and to continue following up. I was super active, started dropping a lot of music.”
When we spoke he had just gotten out of school for the day and I asked him to describe the last 24 hours. He said that he went to his “normal high school” and came home. He neglected to mention his first Complex premiere that had happened the day before, when I reminded him he laughed and said that he had to sneak out of class (AP Science), with his laptop to upload “Modelo” to soundcloud so it could be premiered.
What was it like to get that premiere and then have to go back and sit in class?
After it premiered, honestly, I wanted to shout, but couldn’t because I was literally in class in the lecture mode, I wanted to so bad. Afterwards, I had lunch and was telling everybody.
Did your classmates understand the significance of it?
All my friends are involved with the music because they have no other option. Other people in the school knew how big it was and were happy for me. I won’t say they were surprised because they’ve seen the incline, and how it’s been progressing with Pigeons and Planes and everything. They were happy for me and said, “he actually did what he said he was going to do a year ago.”
Can you tell me about the song “Cards And Conversation?”
I was involved in a car accident, we were leaving a mall, instead of dropping us all off, my friend basically decided to take a random detour. To this day I do not know why. He was going 80 in a 50. Everybody told him ‘you’ve gotta slow down,’ so he tried to slow down. I don’t know what was going through his mind because then he sped up again and was going 90 miles an hour and had to suddenly get off and took the sharpest turn ever. The car swerved a lot and the tires popped. I thought it was wild that nobody got hurt because the car was wrecked. This was pretty recent, in the last month or so.
How did “Polaroids” with XVRHLDY come about?
“Polaroids” is a song that I had already made and I sent it to him. I’d heard him on a few songs, one was with Saba and I was super geeked and I wanted to get out there. I didn’t know him as a person then, he’s super cool as a person. I’m being honest right now, it felt like this was a chance for me to open a door and make a song with an artist that I looked up to. We made “Polaroids” email to email, we never worked on it in person. Through the process I learned that he’s cool and he’s given me good advice that I’ve been using ever since and it works.
You and XVRHLDY have the same manager, Steven Goldstein?
That’s how I met Steven. I didn’t have a manager before “DUI,” I was on my own. I do my own mixing and everything. When I met with XVRHLDY, I wanted to be under management and they sensed that I wanted that. It didn’t happen right away, sooner or later Steven told me he wanted to get more involved. Of course I had hoped so because I’ve needed guidance. I have faith in myself but at 16… I’m just barely 17 now.
Congrats on the 20 under 20 list, nobody on that list is younger than 17. What did you think about being on a list with Jaden Smith?
At first it didn’t soak in, I just knew that I’d made a list. I looked at it and it was crazy to see the people on it – Jaden Smith. (Laughs) I didn’t know a lot about all those artists, I was happy I was on it, but I was even happier to listen to those other new artists like IshDARR and others.
Anyone on the list you particularly like?
One of my close friends, Max Wonders, he and I got tight about a month ago working on some music. I was happy he was on the list. I like a lot of those artists but he’s the only one on it that I really know.
And you got on “Best New Artists of the Month” in August too!
Me and Steven were going crazy when we saw that. Damn! All in about one week, Pigeons and Planes showing so much love and they go crazy. They became my favorite blog ever, when I do an EP I want to send it to them.
Is the momentum surprising you at all?
I have to be honest, sometimes it does and sometimes it doesn’t. I used to get SUPER emotional when I was making music. Earlier I felt like I wasn’t getting the attention that I deserved, but I’ve always believed that I have talent so I know it’s going to happen. I’m surprised at how fast it’s happening, but not that it is happening. I’m still at the beginning of my journey.
What does your mom thinks about everything that is happening now?
She supports it, she’s one of the reasons I got started. She bought me a mic when I was little, if she hadn’t done that I may never have experimented and learned. I always used to sing and rap around the house, and she took the step for me and got me a mic. It’s crazy. I didn’t know at the time, I was literally in fourth grade and I knew how to use a recording program and I was learning to mix at that time. Even if the mixing wasn’t perfect, it was listenable. I taught myself while not even knowing that I was teaching myself. I got started on my audacity!
Does she still listen to your music?
Not so much on her own, I can show her stuff and she’ll listen. She listened when I was younger, but as you grow up and the subject matter changes, I’m not so quick to go show my mom a song like “DUI.” She can hear it, and is still proud no matter what the subject matter is, that I’m doing something productive.
Do you have a favorite song of your own?
I have two actually. One that is old called “B L V C K,” it’s the third song I released on my soundcloud I believe. I didn’t fully have my sound then, but I like it because of the subject matter of the song. My other favorite is “Merica.”
“I’m black, you’re white
Your dad just might
Act a fool if he knew about us
I’m black you’re white
Your dad just might
Get that tool if he knew about us.”
You are working on an EP called The Black Beverly Hills, what does the title mean to you?
First off, when I listened to “Sweet Life” (by Frank Ocean), it was the first time I heard that reference. After that, I felt like I can pick the situation I’m in. To put it in a category like Beverly Hills – where I come from and where I land. My living situation is not perfect, it’s not like the most upper class. I’m not living an extravagant lifestyle, you know what I mean? We’re not the lowest of the low either. I’ll never complain, I’m not out here grinding, like “oh, I’m struggling…” We do fine. What I mean by the The Black Beverly Hills is that I can take my living situation and add glory to it. When I think of Beverly Hills, I think of fancy stuff, big houses and a fun lifestyle. On the other hand, black people as a whole are known for doing great things, but a lot of times that’s not what a total stranger of another race thinks about when they hear black. Some people think the worst when it comes to my people. So when I think Black Beverly Hills, every stereotype you might have heard – so what. We live over here and we like it. To us, it’s like Beverly Hills. I want to get out and experience everything, but for right now, I’m loving everything about this. I don’t wish that I lived a different way.
How far into the EP are you?
It’s probably going to be about six songs and I have about 3 solid songs done. Actually right now I have six, but me being me, I’m subjective. I might just not like a song one day. I’ll play the songs that I’ve considered throw aways, and be like “whoa, these aren’t throw aways,” but if at one point I thought it was a throw away, then I’m not going to want it anymore.
Will you have any features on it?
One for sure is Max Wonders. We make tight music. The other artist I want to feature is Carl from Hurt Everybody. I have a song with him coming out soon. It’s not going to be on my EP. I don’t like that he doesn’t get all the attention he really deserves. I really think Carl is so dope. Supa (also of Hurt Everybody) and I have talked about doing something – a remix of a song. The one I have coming out with Carl feels like a big song.
Do you find it easy to collaborate via the internet?
I haven’t experienced the other way yet. I’ve never experienced sitting side by side with an artist in a studio.
Any plans after high school?
I know I’m not going to attend a four year university right after high school for the simple reason that I feel too strongly about music. I don’t think I can slow it down for anything right now. That may sound selfish because I know school is really important, but I find it hard to put school over music. It’s a passion, I can’t help it.
Are there any artists in particular that have meant a lot to you?
I am a super big fan of Isaiah Rashad. Man, of all of TDE, I will argue a man down for Isaiah Rashad, it could even be Kendrick Lamar and he is so good, but Isaiah Rashad – nobody else gets that spot.
I don’t know Rashad’s music well enough, what are a few tracks I should listen to.
Um, honestly, you might want to listen to the whole Cylvia Demo. There’s not a track on it you can skip. You have to listen to it all.
It’s not even that he’s a crazy lyricist; it’s his attitude, what he talks about, his beats. You can tell he spends a lot of time on his work. His production is crazy, all the way down to the adlibs he does, it makes the song pop every time. The features he chooses are smart.
How about underground artists?
Do you have much performance opportunity in Madison?
I’ve only done about four shows total, but I have three more coming up this month. Everything I’ve done so far has been 21 and up, I get in just for being the artist that’s performing. I’ve played at clubs, I’ve played at empty venues that people have dressed up for a show, those honestly have been the best ones. I know this guy and he hosts art shows, he’s 19. He lets artists display their art and after that there is a music show. People go around and look at the art and take pictures of it, he explains who made it and what it means. It’s always a big turn out.
Anything you’d like to add?
When my EP comes out, there’s a lot of experimental music, not like way less chill, but like more like “Merica.” I’ll get deep and aggressive, but there will be a real mixture.
Trapo is at an exciting time with his music and quickly developing career. His subject matter is age appropriate but serious – and with intelligence, openness and reflection that is rare in an artist of 17. As he stated, it’s the beginning of his journey, he hasn’t recorded in a professional studio yet or collaborated with any artists in person, and has already achieved the level of music making that has garnered enthusiasm from his rapidly growing fanbase and coverage from some of the most impressive national blogs. His star is rising, join Trapo as he continues to build and look for his debut project, The Black Beverly Hills EP, coming soon.
Supa Bwe is back with a new for his CHURCHDONTSTOP produced “Contacts”. Directed by Lyrical Lemonade’s Cole Bennett, “Contacts” is an incredibly lively song with an equally as boastful video that features Supa going brazy while girls swim in a beautiful pool behind him. The track will be featured on Supa’s upcoming solo tape, The Dead Occasion, which will presumably be out before the end of the year.
AND IF THAT WASN’T ENOUGH NEW HURT EVERYBODY FOR YOU, you can now watch the mini-documentary directed by Bryan Allen Lamb of Hurt Everybody’s excursion to New York City, where they co-headlined SOB’s with Chicago’s Saba. Today is certainly an exciting day to be a Supa Bwe fan and a Hurt Everybody supporter.
It’s been a busy summer for Chicago trio Hurt Everybody. They dropped their second full length project 2K47, and on June 1, Supa Bwe, Carl, Mulatto Beats and company embarked on a 24 hour musical adventure/marathon resulting in the 24EP. The project was released by Mishka Records and the process was described in detail here by Ben Niespodziany who helped orchestrate the whole endeavor. The five track EP starts out wild with “Feral Tears.” Producer ZenZanBeats comes in next providing a gorgeous instrumental interlude called “Sunrise With ZenZan.” In the next song, “Verbal Swords” Supa Bwe sings “Words cut deeper these days, pulling out yesterday’s blades.” Carl’s lyricism shines on “Wigwam,” he raps, “My family was hustlers and gunners and dreamers. You see me, you see we been under.” The last song is “Night King” and Supa sounds weary yet still fierce, as he makes statements about weak competitors, being night king and that he’s “got a Ferrari flow, you are just a stock car.”
Supa and his girl were at my home for a BBQ earlier that day, he said that it would be a good idea to rest up but that they had visits with family planned. Towards the end of the 24 hour period Supa Bwe was informed that his love’s mother had passed away. Supa told me that she was his “second mom.” Condolences and much love to Supa Bwe and family from 1833.
Musically this 24 hour period was a challenge and the hard working artists met it with Hurt Everybody magic. YAKUBfilms did a brilliant job documenting the day in the video at the top of the page. It gives tremendous insight on the personalities, thoughts and process of these musicians, I love the video. Kater Jayne Photography captured the images used for the 24EP’s cover art. A lot of work and collaboration went into the 24EP, congrats to all involved!