With over four hours of music, we’ve got a wide range of sounds from UKG and house, to rap, trap, bass, and beyond. We’ve got bops, bangers, grooves, and heaters, all containing that transcendent energy that feels like summer.

The playlist is packed with FUXWITHIT favourites like TroyBoi, camoufly, Sammy Virji, Larry June, Sango x Goldlink, Eyezic, AYYBO, Polar Youth, So Dope, Craze x Palmer Reed, Darby and more. We’ve got superstars like Fred Again.., Anderson .Paak, Skrillex, Hamdi, Future, J. Cole, Skepta, Little Simz, and Vince Staples. Plus a ton of under-the-radar gems as you’d expect from us.

We’ll be updating the playlist throughout the summer so be sure to add it to your favourites and bump it all summer long!

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These feelings didn’t come from nowhere. There are moments in our lives when all we want is the attention of those we love during our celebration. Where ascension is in place, a simple “I’m proud of you” is enough; Presence and affirmations are acceptable forms of legal tender.

His first New York trip of 2023 was supposed to be his graduation. His debut album, A Guide 2 Recognizing Your Saints, was supposed to be his moment of vindication. The now archived Instagram photos of bodies smiling and clutching each other after his listening party painted a perception that received this. But really, Jireh got neither. Friends who accompanied him on the trip weren’t fully engaged. A past lover made a promise to show her support. When the day came, she never showed up. On that trip, they all let him down, one way and another. Resentment boiled but never spilled, and like most cold wars, words stand fettered by the tongue out of fear of escalation.

“That was the most alone I’ve ever felt, alone and unsupported.” Jireh says over his screen.  “like there’s a difference between being alone and lonely, and a nigga was lonely. And it was I who wanted people to show up for me; I was begging them to show up for me.”

Once he returned to his home, Jireh commenced the soft launch of slowly disappearing for a week to disappear in full that night. Before Jireh could drive off to his death, the body’s “end of life” rally, staving off the reaper, made him reach for his phone and call his mother. The call came on instinct, but his mother begged him to stay on the line until she arrived. As she went inside, her son was still in his living room, as ordered. They prayed together; she prayed for him. He spoke of the disappointment and fear that consumed him; she listened until his high wore down. As he became whole and his weight grew, she became his pillar and held him up as she walked him to her car. That night, a mother saves her son. However, the real work to ensure safety must come from within.

Calling in from his living room, the Jireh before me on this Zoom call appears in bundles, wearing a black and yellow jacket with a cross stitch at the neckline and a camo hoodie bursts from underneath it, running stiffly along his skull, binded by a yellow durag. He’s in a bit of an apologetic mood. He’s only a couple of minutes late for our interview, yet he’s remorseful “The time difference is fucking me up,” he tells me, fidgeting with the cross-stitch of his hoodie as if he were tuning a guitar. Now that his profile has grown, the professionalism needed is also different.

There’s a yawning excitement in Jireh’s husky baritone, a lingering high that comes with a delicate withdrawal. Fresh off his first-ever SoFar Sound performance, he performed a blend of singles from his two projects of 2023, AG2RYS, and his most recent album, B-Sides. In a YouTube video of his performance, Jireh looks comfortable where he is. Dressed in khaki jeans and a jean jacket rolled up on the sleeves that is still a smidge too big for his frame, he sways in place for most of the video, mic in hand. Known for his brutal delivery and compact cadence, Jireh rarely sets a scene or zeros in on details. It’s an unforgiving flipbook animation where, once it starts, you can rewind to the beginning. Distractions are costly. But that night, he waned his pace a bit to comfort others.

I’m just glad she answered.

Suddenly, we shifted from his SoFar show and I ask what made him call his mom that night. Immediately, Jireh’s head hangs limply over the zoom screen as he mouths a few words that come out scratched; then, having to wipe them clean, I ask him if he wants to shift to another topic, and he emphatically denies it. “If I said it, then there must be a reason why I did.” With it, access is granted. He gathers himself, reprising those lost words in total between the pauses. “I don’t even know,” a chuckle appears, masking the relief. “My mom and I have a tumultuous relationship. But I know that something made me call her, and I’m glad I did.” There was a long pause, measuring how much he should say. “I’m just glad she answered.”

Privilege is another type of concession we have no control over, yet we must utilize it when it appears. Jireh’s voice shrinks when speaking about his parents. Personal story beats tethered by transitional phrases and incomplete reflections. His specific experiences are ghost-faint, where details are not always heard but felt. Born and raised in Baton Rouge, Jireh is quick to say that his childhood was no different from any other black child’s experience; black trauma shit, mixed in with teenage angst.

Without going into extreme detail, he’ll tell you that neither he nor his parents tried to understand each other. He’ll tell you that there’s no animosity between them at the moment. They don’t speak often but whenever he travels to a new city to perform, he’ll ask them if they could stop by his house to see if he has any bills waiting for him.

As a child, when things with his parents became dire, his grandmother would always be there with a meal and a caring hand. Here, Jireh opens up more, dazzling indications dripping from his tongue as she speaks on her. From her kindness in picking him up after school to eventually allowing him to move in, her kindness even stretches to his sister, whom the grandmother adopted.

“My sister will tell me about it, but my grandma will make it a point to watch over me.”

Jireh wants to be fair and give them their just due, particularly his father who was a poet and radio DJ. “I would be unable to put words together like I do without that man.” He says. “I wouldn’t be able to read without that man. That man forced me to read and write. Then, at a certain point, he understood that I was naturally gifted at certain things and would force me to do even more. I can’t rob him of that credit for any of that shit.”

A question on the writing process of B-Sides led to Jireh giving his best Tom Green impersonation while giving me a crash course lesson on the Jungian philosophy of shadow work, or as he called it, shadow boxing. From what I gathered, in psychological terms, shadowboxing is the projection of repressed anger. It’s the part of us that we disowned, attaching itself atop the flesh of the people we love. We become unreliable self-narrators who shape a world that makes us feel rejected. It’s where we receive the world’s external wrath for our internal rife.

For a while, he didn’t want to do shit, didn’t want to make shit. Already over-reliant on Shrooms, “My go-to drug for when I’m going through shit,” he went deeper into his addiction. During this time, though, he got heavy into the concept of shadow work.

As he spoke, he rattled off metaphors with his tongue and pulled them back with a wave of his hands until settling on the right one. “It’s like that ant-man movie when he went into that thing. It’s like you go in there. And you don’t know if you come out like you gotta work some shit out in that bitch.” He says. “You got to figure some shit out. And you either come out on the other end or you you stay in that bitch”

“So, what did you learn about yourself?” I ask

“I have boundary issues, bro. I have addiction issues. Like I have, I have addictive tendencies and addictive personality, and that does run in my blood.” He admits. “I have a lot of internal shit that manifests externally. I think I’m in the process of coming up with systems and routines and having the confidence to be as flawed as I am. And like not getting in my way.”

So he ditched the shrooms for the Adderall. He got in touch with a therapist and began to pick himself apart with the guiding ear who’ll remember him to be considerate to himself. He altered how he spoke about himself, particularly his phrasing, to be realistic about his situation and not delve into fatalism. But most importantly, he turned the anger within him into spite. During his recovery, he examined the current landscape for emerging artists and saw how grimy the game is. He grew spiteful towards the algorithm, towards the people who are supposed to be in the know, who don’t know shit, towards artists who compromise their craft for a look, and, most importantly, to life itself. 

“I can listen to a song from somebody and immediately know they made it for the playlist,” he says.

There’s something about fun and how intentional we make it. In Jireh’s effort to avoid the stress that comes with intention, B-Side’s sole decree was to be fun—looser, experiment with more sounds and flows, seize the moment, not comb over it.

The project highlight, “Parking,” encapsulates this decree. The slow churning of high hats and kick drums bids a false safety, resonant keys and high-frequency synths wobbling in volume, fighting to keep it all afloat, but ultimately, his compliance to violence is too much. Once Jireh swoops in and says, “Back in this bitch like parallel parking” is said, a trigger, once swelling to be pushed down, will soon be empty. The hook is the most biting; the diction in “Niggas” and “Knowing” at the start of each line is delivered with a brutal sense of disdain. “Niggas down bad and broke/Niggas ain’t making no magic,” is said with disgust. 

“I remember making that in my kitchen” talking with his hands as much with tongue. “Just smoking, chilling at the crib and the beat come one and I just did my thing. It was so much fun.”

B-Sides is an album of elongations. But its elongations come in many forms. A bonus offering originally crafted to lengthen the life of his previous album became an entity of its own. Multiple outcomes were possible on his birthday, but a single phone call lengthened the aftershock. There’s also reconstruction. On the cover, you see Jireh standing tall, with his posture straight and face unclothed from his jacket collar, as he stares into the camera. Confident, poised. It is a complete dichotomy to AG2RYS, where he is furled in his seat, elbows broadening his stout frame with only his eyes exposed to the air. Fear. 

B-Sides is aware that the right words in any language can render new species out of undying tropes. So instead, it shows the aftermath to those willing to listen. The album doesn’t address the suicide attempt but only hints at the changes that came after. The album intro track, “FYE,” is a re-declaration of dominion with undertones of an adjusted perspective. Immediately, the stakes are high.

The record starts with Birdman’s skit with Druski, eschewing praise with underlying resistance and threats. The bass’s bulkiness is a hand-firm clasp on the shoulder, easing the tension as the sharp, scattered guitar warbles and soft drums spill over graciously. “I ran out of love; now it’s just money,” but as always, he’s curt. Jireh raps in resolutions—the clarity obtained by distance and recollection, ascertaining the value in his craft, and saying how happy he is with his last effort. 

Yet, not all of them provide answers or exposure to a problem. On ‘Complicated,’ a woman’s voice glows underneath the rising glow of chords and bass lines. She asks Jireh plainly, “How many things support you being happy?” He laughs, saying, “Now, why you gotta do me like that?” This confirms her suspicions and points out plainly how there’s nothing. The album doesn’t seek to provide closure. It’s meant to show a subtle shift of perception. AG2RYS was an album riddled with loss and doubt. B-Sides is confident, skeptical yet never delving in fatalism. 

Accepting all the good that comes with success is a process that Jireh is trying to get right. “I am still having a hard time subscribing to that belief.” The man before me is now leaning back on his chair, chilling as the black jacket that once sat on his shoulders has sunk to the floor. “There’s been enough niggas who have told me that I’m going to be great where I can stop being like, ‘Oh man, thank you.’ I need to start accepting that shit.”

I asked what he felt he had to do to accept his current success. Immediately, he references a conversation with Devin, getting sidetracked by repeating how important he was to him. He caught himself and said consistency.

“Gotta like give people the opportunity to hear your. You ain’t gotta do no crazy shit like getting on TikTok and start dancing on camera every day.” He pauses right there. He let that thought linger for a second and with curt tone he goes, “I’m not dancing in front of a camera ever. You don’t have to worry about that shit, ever.”

Spite is a powerful motivator for living.

The post Jireh Stands Tall appeared first on FUXWITHIT.

Now the two artists have joined forces for ‘Shut Shit Down’ and it’s exactly what you’d hope for. Off the first few notes, you can already tell it’s going to be a smash. The melody is off kilter and addictive, the bounce is beyond booming, and the percussion is peak. The pitched-down hook and exotic vocal samples cement TroyBoi’s signature while leaving room for Armani White room to shine. And shine he does, bringing his signature swagger, sharps bars, and smirk-inducing humor (see “I’m 6’0. I stand on my money. I’d be 6’0/All my shit in crypto and the market took a dip, ough”). Anytime two heavyweights collide the expectations shoot up, but TroyBoi and Armani White ‘Shut Shit Down’ with a certified anthem that’s assured to be stuck on repeat.

Peep the track below alongside the visual which features some dope CGI/AI animation.

The post TroyBoi & Armani White ‘Shut Shit Down’ On New Collab appeared first on FUXWITHIT.

“It’s a madness, I been trappin’, I seen action,” Pete English’s voice echoes on the first track. A devilish tune rooted in UK dubstep, ‘ACT!ØN’ fills the room with a sinister air. A slight synth wobble, pervasive underneath Pete English’s voice throughout, is at once both sensual and spine-chilling. The slow swing of the percussion in ‘DREAMSCAPE’ is like a wade through sonic murk, interspersed with an angelic vocal gently resonating through the background haze. The namesake track of the EP then comes out swinging with a wave of phantasmagorical sub-bass. The absolute frisson of ‘FØRSAKEN’ will leave your ears quivering with pleasure. As an extra-special treat, jordnmoody has graced the EP with a downtempo VIP of his bass-house banger ‘VOICES.’ An eerie, nightmarish, haze veils the slowed-down final track. This is proper Halloween music.

October isn’t over yet, which means there’s still time to get spooky. Keep the skeleton decorations out and grab a fistful of your favorite candy. Don’t forsake the opportunity and go give this EP the attention it deserves.

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The cohesiveness with which ‘HD’ melds the rapper’s voice with the telltale production of Supertask, Potions, and Player Dave might leave you with the impression that JAWNZA has been with the group since day one. Fans may correctly attribute his familiar voice to his previous collaboration with Player Dave, ‘Wakanda.’ Unlike ‘Wakanda,’ however, his cadence on ‘HD’ hardly skips a beat, turning the track into a rich, substance-filled poem. Confidence exudes with every verse. “One of the greatest, hard to beat, sick as fuck,” JAWNZA declares with zero hesitation.

The rapper takes a more introspective digression from the laid-back, witty lyricism at times. In one verse he credits his lover with the line, “Coulda had shawty but she was too treach, I got a wife and I like how she treat me.” Later on, he calls out a harmful lack of diligence in choosing one’s friends with, “Really gotta watch who y’all call y’all company, big bad wolf sittin’ on yo’ futon.” JAWNZA describes himself as exceptional in a number of ways on ‘HD’ and unquestionably has the talent to back it up.

For a time, the future of Lab Group was called into question by fans after the passing of founding member CharlestheFirst. With the release of ‘HD’ and the much-anticipated Lab Group II in the works behind the scenes, it’s clear that fans have a lot to look forward to. Supertask, Potions, and Player Dave have done an incredible job upholding the legacy of their late friend since the release of Lab Group I first made waves in 2021. A blessing to music-lovers everywhere, Lab Group is here to stay. Give ‘HD’ a well-deserved listen below.

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The post Lab Group, Player Dave & JAWNZA Snap on New Single ‘HD’ appeared first on FUXWITHIT.

‘YAYAYA’ opens the project with a sound that’s nothing shy of epic. Impactful chants meet dizzying melodies, pounding 808s, and masterful drum programming. The pensive break proves it’s more than just a standard trap heater with stirring keys and haunting vocal bends. ‘Red Congo’ is an awesomely off-kilter percussion-driven bop that’s simply addictive. Other instrumental leaning cuts ‘Make Face’ and ‘Rube Boi’ with Drtwrk feature just the right amount of darkness and weirdness with plenty of knock.

While the aforementioned tracks are far from lacking in imagination, those looking to get fully immersed in the artist’s stranger side will love ‘Winnebego,’ ‘Open,’ and ‘Life Happening’. The former alongside DAGR moves effortlessly from gritty club feels to sunshine-filled meadows and into a realm that’s beyond Earth. ‘Open’ begins as a summery ballad that’s ripe with emotion and sun-filled strums, that swerves into an aggressive punk-inspired fury with a little trap influence to back it up.  Meanwhile, ‘Life Happening’ presents an intro that makes your brain feel like it’s swirling widely in your skull. And that’s just the beginning, it gets better from there.

For listeners looking to return to solid ground Open‘s rap collaborations offer a more approachable energy. Zach Zoya hops on ‘Last Time’ with a breezy swagged-out style that makes for a laidback summer cut. Elsewhere Cali Carter lends his voice for a double dose on ‘Walk’ and ‘ No Commas.’ If you’re looking for that IDGAF energy ‘Walk’ is your ticket. Ice-cold melodies, slapping drums, and sub-bass back Carter’s high-pitched vocal performance for a feel that’s like watching weird cartoons on a heavy dose of shrooms.

Open is unlike any other project released this year and is exactly what you’d expect from Lunice. What more could you ask for?

This project is based on the idea that any artistic expression is not a fixed or static entity, but rather a constantly evolving and changing process that can be influenced and shaped by a wide range of factors. With that in mind, I decided to approach this LP from a very instinctual place where the ideas and moments come when I least expected it. And to all the artists that I’m grateful to have the chance to work with in this project, thank you. – Lunice

Open is out now on LuckyMe. Listen below.

The post Lunice Returns In Fine Form With ‘OPEN’ appeared first on FUXWITHIT.

The raw and organic flow through the vocals combined with OddKidOut’s colorful production is truly a match made through fate. The amount of effort and energy that went into this creation is clearly heard from beginning to end. From an ominous and intoxicating atmosphere throughout to a burst of hypnotic hip-hop production within the chorus, this is an absolute weapon of a tune. Creating a massive space of inspiration while putting your heart on overdrive. The calm yet chaotic nature compliments both of their styles and opens a brand new chapter for these two legends. So make sure to show your support by streaming ‘NUCLEAR’ everywhere via HARD Records!

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‘Oneday’ is less of an ode to chasing a dream and more of a plea to avoid being restricted to a time frame to achieve them. Time is insidious; everywhere in location but never precise like a faulty GPS. Diz is intentional with this, from the measured tempo of the production to lines like “One day I ain’t running out of time now/One day I’ll forget what I’m crying about,” time only measures the journey, not the scale of your success. Time is a symptom of doubt; one thing confidence never has a problem with. One day, success will arrive, so “live a little” until then.

The post Diz and Cisco Swank Offer Comfort On ‘Oneday’ appeared first on FUXWITHIT.

In a promo video for the EP, Igwe sits on the porch, stating, “I feel like my whole life, I’ve been working to become good enough to start telling my story.” For years, glimpses of the turmoil become exposed in his music. When that happens, he’ll offset the discomfort with levity. On ‘Big Tony (Anthem),’ where he says, “Imma rock out with my cock out.” On ‘Red,’ he states, “Life been hard, but my dick is harder,” hoping his silly personality distracts you from the shadows that follow him around. Other times, his admissions are random. Even when he’s talking his shit like on ‘M** Jam,’ he raps at the end, “I’m emotional/never had to cope with how a nigga had to grow up,” giving credence to their pervasiveness. He always wanted to expose his trauma as the crutches they are, but only he knew when he’d be ready.

One of the natural conclusions of success is the question of worth. Was the distance traveled in time and miles appropriately valued? Did the obstacles you overcame debilitate you for that moment or life? With his formative years built upon displacement, second-guessing himself has become instinctual, one he aims to unlearn. On ‘Tony On The Radio,’ Igwe’s delivery pivots between irritation and remorse, depending on who the recipient is. Speaking with the experience of a man used to disappointment, he probes “wifey” on her view of his commitment before telling her he’ll have to let her go. She’s broken. He comforts her, despite admitting he’s not happy with their current cycle. Yet violence consumes him when he looks into the mirror. “Strike him with the bottle until he never breath again,” as he prays there’s never be another encounter. He’s worldwide, but the pains of the immigration process are impossible to shake. Even when he chooses himself, the people left behind are still on his mind.

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