“For the first time in my life, the world has had a truly shared experience. The ‘Odd Cure’ is my way to providing a soundtrack to our thoughts, worries, hopes and dreams.” Oddisee states along with the release. Tied together with myriad of skits taken from phone calls with family, friends and his manager, each call provides a window into the perspective of someone different, from his mother’s struggles with taking subway, to his homie mask shopping, to Oddisee checking in with his manager around touring. As for the music it’s just what we’ve come to expect. Over 6 tracks Oddisee makes you smile, reflect, bob your head and stop and think. Odd Cure presents a time capsule of the weird world we’re living in while also providing a timeless aesthetic.

Stream below and grab it on Bandcamp.

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Continuing on his quest comes The Iceberg, an album that is everything we’ve come to love and expect from the Maryland MC and producer. Self produced, each beat serves to compliment the lyrics and emotion encapsulated in each track; from the uplifting tones on ‘Want To Be’ to the poignant vibe on ‘You Grew Up.’ It’s a lyrically diverse offering that spans a myriad of topics from independent grinding and growing up, to racism and politics. It’s the type of album that opens your mind and alters your perspective. Dive in below.

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10. Lido – Murder

Lido’s ‘Murder’ isn’t a song, it’s an emotional journey. It’s a piece of Lido’s heart and soul experienced through sound. From the stuttered vocals creating a sense of confusion, to the immense waves of emotional pain conveyed in the drop, it delivers in a way that is both cinematic and forward thinking. Closing the song out, comes a sense of pensive calm, scored by an 80-piece orchestra. Yes, Lido commissioned an 80 piece orchestra for the outro. ‘Murder’ is further proof that Lido is a master composer and is truly a work of art.

09. QUIX & Boombox Cartel – Supernatural

‘Supernatural’ was the track that murdered every set in 2016. Prior to its release, it was the ID everyone was clamouring over. When it dropped, it only became more massive. The combination of moving vocals, rough trap and future feels was not pioneered with QUIX & Boombox Cartel’s collab, but it was perfected. Keeping it 100, above everything else, the first drop was the drop of the year. If a DJ wanted to slaughter a club or festival, they queued this one up and the rest was history. This was the club banger of the year without question.  

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08. Kanye West – Ultralight Beam (Ft. Chance the Rapper)

‘Ultralight Beam’ is undoubtedly a classic Kanye song but he contributes in the periphery while letting legend in the making, Chance the Rapper, take the spotlight with his most triumphant verse to date. Note the bars: “this is my part nobody else speak” he croons as the Kirk Franklin-lead choir chimes in. Chance made himself a staple in the game and as much as this is Kanye’s joint, everyone knows that this was the “passing of the torch” from one Chi-town legend to the next.

07. Flume – Smoke and Retribution (Ft. Vince Staples and Kučka)

One of the things that made 2016 so special was the incredible range of collaborations seen. Defying genres and seeing acts from completely different walks of life connect to create something exceptional. Nothing embodied this feeling more than ‘Smoke And Retribution’. Kučka’s delicate and touching vocals provide the ultimate contrast to Vince Staples’ aggressive and raw style. All the while, Flume showcases his mastery, developing soundscapes that back both dimensions while moving between them so smoothly. If we’re strictly talking quality, ‘Smoke and Retribution’ is tough to top. Add in the immense fan fair and DJ support it received and there’s no questioning its placement.

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06. DJ Snake – Propaganda

If ‘Supernatural’ was the club banger of the year, then this was the festival killer. By the end of 2015 DJ Snake was becoming well known for his poppier leanings (‘Lean On’). With ‘Propaganda’ he reminded the world that he’s still capable of producing some of hardest material out. From the epic build ups, to the chest pounding drops, this was the sure-fire standout in every DJs set and every festival. ‘Propaganda’ once again proved that Snake owns the game, regardless of what sound or direction he chooses to explore.    

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05. Desiigner – Panda

What is there to say about this track? It was literally everywhere. Most loved it, some hated it. Future fans called him a copycat, New Yorkers called him a sellout. Regardless, Desiigner became a star and with Kanye’s co-sign on The Life of Pablo there was no stopping him. The XXL Freshman became a viral hit overnight. ‘Panda’ is the trap banger on 10, the drums hit as hard as the bells and horns. Rounding out the Top 5 is the new kid on the block.

04. DJ Khaled – Holy Key (Ft. Big Sean and Kendrick Lamar)

The third release off of Khaled’s ninth studio album Major Key, ‘Holy Key’ features Betty Wright,  Big Sean and Kendrick Lamar. Wright’s vocals provide an ardent chorus, and each rapper rhymes in their intricate and identifiable styles. The theme of this track is how surreal reality is these days; hipster trends blended with nasty news reports about the most soul-destroying racism. Big Sean expresses the confusion between desiring things in a world inundated with injustices and mistrust. Lamar grounds you in his emotional performance, becoming shrill while he reminds us of how fleeting and unfair life is. The passion in both rappers verses can give you goose bumps. References to spiritualism struggling against the overcomplexity of the times coupled with modern frustrations makes this a powerful anthem for 2016.

03. Chance the Rapper – No Problem (Ft. 2 Chainz and Lil Wayne)

Chance The Rapper is the rapper of the year. His list of accomplishments is so long we dedicated an entire post to it (add in 7 Grammy nominations). In Coloring Book, Chance dropped what is arguably the best mixtape (strikeout) album of the year. The biggest single off the record, ‘No Problem’ is the perfect embodiment of what Chance stands for. It’s an anthemic cut that centres around his frustration and distaste for major labels and the industry in general. With the refrain repeating “If one more label try to stop me, it’s gon’ be some dreadhead niggas in ya lobby, huh huh” ‘No Problem’ doesn’t sugar coat shit. Chance is fed up with labels trying block him recording with friends and he’s telling the world. A bold move that deserves massive level of commendation. Chance is putting his neck on the line in hopes to invoke change and benefit the artists who will come after him.

Off the official video and SoundCloud upload alone ‘No Problem’ clocked nearly 100 millions plays. The popularity and message together is a clear highlight of 2016. And I didn’t even mentioned the guest verses from heavyweights 2 Chainz & Lil Wayne. The latter was especially fitting with Wayne stuck in release limbo due a disagreement with his label. Performing this on Ellen, Wayne directly took aim at Cash Money, while the entire stage set-up was a blatant commentary on the antiquated record industry.

The cherry on top of the incredible track is that it’s produced by Brooklyn based Brasstracks. The fact that the underground (and FUXWITHIT) favorites managed to land a track with such heavy hitters and work it into one of the biggest anthems of the year, is just another a piece of proof that we’re living in the best time ever for music.  

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02. Drake – One Dance

Though it’s number two on our list, ‘One Dance’ earned a whole lot of ones in 2016. The song from Drake’s Views album hit the net early April and quickly reached the top spot on Billboard and streaming outlets. The dancehall inspired track featured Kyla and WizKid but it was Drake’s overall approach that made the song pop (pun intended). From the song’s simple but bumpin’ beat, to the melodious verses and hooks, Drake easily forged the biggest hit of the summer and you could hear it in every car, every bar/club, house party, festival, wedding – literally anywhere and everywhere. Another dominant year for the 6 God and easily one of the best tracks of the year.

01. Oddisee – Lifting Shadows

Usually each year for our #1 song we select a track that best embodies a strong blend of all of our decision criteria (song quality, popularity & impact). The result is generally a song that is both well put together and immensely popular (‘0 to 100/The Catch-up’ & ‘Lean On’). But 2016 wasn’t a usual year; from the global refugee crisis, to the increasing racial division and racism in the U.S., to Trump’s presidential campaign and eventual election. While many of the songs on this list helped us to forget the issues, if only momentarily, Oddisee’s ‘Lifting Shadows’ brought them to the front of our minds.

In less than 5 minutes Oddisee is able to touch on a myriad of social issues, doing so in a way, as Common Sense once put it, “by not preaching to me, but speaking to me.” His method certainly isn’t leisurely, but it’s immensely gripping. The first verse provides insight into what it’s like to be a Muslim in America, “…scared I’m involved in the causing of pain, lost somebody you loved in the towers and looking at me like I boarded the plane, I’m just an artist you’re not a target, no use in arguing we all look the same.” Oddisee builds upon this while shining light on the seemingly, ever-increasing police violence toward citizens, “All in the name – I got a name that’ll scare all the brave in the land of the free, all in the name of protecting a country that’s shooting its citizens dead in the streets.”

As the hook comes in ‘Lifting Shadows’ ceases to relent, delivering a sobering and further eye-opening message that even draws upon the first amendment, “Since 9/11 it ain’t too clear just who the target is, I love my country, hate its politics, can’t just let me be, can’t just let me live, regardless my belief, I thought the fathers wrote it clear”

The second half transports listeners to the other side of the world, “I was on tour when the migrants came, saw their camps on side of the road, I met a boy who arrived in the rain, he lost his folks when they torched his home, that made me want to bring my fam, before they see that side of a drone” Anyone possessing a shred of empathy is sure to be impacted by this. With just a few bars, Oddisee is able to give us a first hand account that helps to truly understand the pain and terror experienced in war torn areas across the globe. And that’s only the first few bars. From there, Oddisee dives into the dark views that tend to surround immigration. Building on the idea of “labor’s cool, neighbours no” he proceeds to list off a number of jobs typically reserved for immigrants while pointing out when it comes to more sought after professions like that of doctor, the idea of an immigrant “taking their jobs” makes Americans uncomfortable. It’s a troubling way of thinking that is disturbingly hypocritical; immigrants are good enough to build the country, but not good enough to live in it. After some clever wordplay around Trump, the song’s close shines light on the fact that America was built by immigrants (and slaves), “And that’s what makes this country great, it’s built by those who bleed, It’s built by those who came on boats, it’s built by those who flee, and you forgot your family tree and we’re just all your leaves, so if you just try to chop us down you only hurt your knees, and we could go in pieces but we’d rather come in peace”. It’s a stark reminder that we are all here as a result of immigration.

‘Lifting Shadows’ pushes all of the year’s biggest issues to the forefront of our consciousness while reminding us of our empathy. For that, it is the most important and greatest song of the year.  

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Be sure to check out the rest of the list:

50-41 | 40-31 | 30-21 | 20-11

The post Top 50 Songs of 2016 [10-01] appeared first on FUXWITHIT.

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Good Compny shot by Kevin Gallant for FUXWITHIT

As soon as the band took their places behind their instruments the floor filled with everyone ready for the show. A few quick notes had the crowd excited for what was to come and Good Compny delivered. Before the show I mistook them as just Oddisee’s backup band, but they proved they’re more than just that. The group easily moved between upbeat originals that were catchy and groovy. Their vocal talent surprised with each new track. From the keyboardist (Ralph Real) singing and rapping, to the soulful sing-songs of the guitarist (Olivier St. Louis) and the man behind the MPC (Unown) coming out to drop a few bars. Even though the first lines didn’t come across as the mic was cut off, it didn’t stop him from flowing and it was quickly turned up.

Jon Laine shot by Kevin Gallant for FUXWITHIT

Unown shot by Kevin Gallant for FUXWITHIT

The band took a break from originals to play some familiar hip-hop classics which included a live rendition of ‘It’s All About The Benjamins’ and Black Sheep’s ‘The Choice is Yours’. The energy was the highest it had been and the crowd was primed for the main event. As they teased a few notes of ‘Ready to Rock’ those with a keen ear began to cheer while the remainder of the crowd joined in as Oddisee stepped from behind the curtain and took his place at centre stage. As he picked up the mic the track kicked into full effect and so did his verse. It was a powerful intro that was somewhat drowned out by the band. After the track, Oddisee took note asking if the crowd could hear him. After receiving a few no’s he apologized to the sound guy, claiming to be sorry for pissing him off at sound check and asking to turn his mic up.  

Oddisee shot by Kevin Gallant for FUXWITHIT

‘That’s Love’ was the sing along anthem of the night while Tangible Dream cuts ‘Killin’ Time’ and ‘Yeah and Nah’ both hit hard and had the crowd rocking along. Throughout the set Oddisee took time to pause and engage with the audience – telling stories, asking questions and segwaying between tracks. As he geared up for ‘First Choice’ he confessed that they had to cut the track on the European tour as the audience couldn’t rock with the 5 4 time signature, a pattern commonly found in Sudanese music, a big influence in his sound as it’s part of his heritage.

Oddisee shot by Kevin Gallant for FUXWITHIT

One of the biggest surprises of the night came when Oddisee decided it was time to truly turn up (and make fans work off that turkey). With the band near silent, Unown mashed the MPC creating a harder reimagination of ‘Want Something Done’. The trapped out sound was punctuated by Oddisee’s off-kilter, Yung Thug-esq flow. It sounds odd on paper but it was incredible live; a dash of fun and skill that was pure entertainment. When the band jumped into the track and Oddisee flipped his flow once again the place exploded.

Oddisee shot by Kevin Gallant for FUXWITHIT

As the intro to ‘Meant It When It When I Said’ came on Oddisee announced that it would be his last song. A lie that was true if you consider the immediate encore. Unlike most artists he didn’t feel the need to feed his ego by having fans chant as he waited to come back to the stage, instead he did the encore right then and there with the album closer ‘Worse Before Better’ all while giving a shout out to the West Indians as well as nearby Scarborough and Mississauga neighborhoods.  

Oddisee shot by Kevin Gallant for FUXWITHIT

The night wasn’t quite over as Oddisee took the time to introduce each of the band members and allow them one final moment in the spotlight with each artist breaking into a solo to showcase their immense talent. A true climax saw Unown bringing together ‘Simon Says’ on the drum machine while Oddisee channeled his inner Pharoah Monche as he made the crowd “Get The Fuck Up” one last time.

Oddisee & Good Compny shot by Kevin Gallant for FUXWITHIT

The show was yet another illustration of the power and excitement that a live band adds to a hip-hop performance. There’s something distinctly human, fluid and inventive that comes with live music and Oddisee & Good Company embody it to perfection. On stage Oddisee was on full display, not just through his music but with his conversations with the crowd that ranged from cracking Thanksgiving jokes to a heartfelt speech about the refugee crisis. Characterizing his down to earth persona, Oddisee hung out after the show to talk to fans, snap pics and give daps. Much like his body of work the night was moving and energetic, introspective and thought provoking and at times surprisingly turnt up. He gave fans a little bit of everything yet left everyone wanting more.

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There are few feelings better than stumbling across an artist that instantly amazes you. It’s a rare occurrence, but when it happens it’s strikingly memorable. When I came across Oddisee’s Odd Renditions early last year I thought, “who is this guy and why have I never heard of him?” I pride myself in being in the know when it comes to music and the fact that a hip-hop artist that is this amazing wasn’t on my radar was unsettling. Needless to say I became familiar with him very quickly with his music constantly on repeat. As I started to frame this write-up in my mind, I began drawing parallels to legends: A one man OutKast? Talib Kweli with a southern sound? A 2014 Q-Tip? In the end I concluded that comparing Oddisee to another artist is unjust…so just pretend you didn’t read that last sentence. What makes him so great? Everything. From his production, to his flow, his lyrics to his voice and overall sound. He’s original, introspective, and a breathe of fresh air, yet he almost immediately seems familiar.

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His most recent release Tangible Dream is a mixtape that exemplifies his current position. Oddisee is man living his dream. Unlike many he doesn’t strive for Penthouse’s, Private Jets, $1000 Champagne bottles or even immense fame. His dream is tangible and he his living right now, “All I want to do is make music for a living so that I can live to make music.” It’s message that should be taught in every classroom and embedded in the minds of society. Though the project was released as a mixtape it was easily one of the best bodies of work in hip-hop last year and could be mentioned in the conversation for album of the year (though it’s not technically an album). His best work to date, Tangible Dream showcases his versatility and sharp wit. The album opens with the title track where Oddisee paints pictures of his grind over a massive backdrop with militant snares. ‘Yeezus Was a Mortal’ takes aim at rappers who liken themselves to gods while flaunting his own skills.

“They see themselves as God or regard them selves as the chief/ The streets is hungry for kings, the kings are hunting for rings/ My nigga I don’t wear jewelry so fuck who rocking a chain/ I’m just rocking a beat, mo I’m just doing my thing/ Making money from rapping who claiming that talk is cheap/ If record sales and talent was ever one in the same/ I’d be running the game if that rule were ever to change/ But this a tangible dream, I don’t do it for fame”  

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‘Killing Time’ combines ominous loops with hard hitting drums for an anthem that’ll have you rapping along with ferocity. It’s also one of my favourite songs in the past 12 months. As the project progresses the vibe becomes more laid-back with Oddisee reflecting on life and relationships. His intelligence, wordplay, wise views and conversational style are reminiscent of legendary chi-town MC Common (there I go drawing comparisons again). ‘Yeah & Nah’ is another standout with the rapper displaying the lack of black and white that is life. “Is all about the business? Yeah and nah/ All for the music and lyrics? Yeah and nah/Do I fuck with niggas? Yeah and nah/ Do I care about who gone hear this? Yeah and nah”. From beginning to end Tangible Dream provides proof that Oddisee continues to refine his skills and get better with time.

The Beauty In All was released alongside Tangible Dream. The album is a 12 track instrumental effort that showcases Oddisee as a producer. It’s a mellow and easy listen that is the perfect backdrop to a Sunday afternoon or a great companion while studying. Standout tracks include ‘After Thoughts’, ‘The Gospel’ and ‘Patience in Play’ though I’d recommend just letting it play from front to back. In 2012, Oddisee released his first official solo album People Hear What They See. Taking an interesting approach Oddisee wrote the entire album outside while listening to the instrumentals he previously produced. The unorthodox approach paid off allowing for songs that transcended his individual experience yet still feel genuine and uncontrived. Can’t miss tracks include ‘Ready to Rock’, ‘American Greed’, ‘The Need Superficial’, and ‘Another’s Grind’.

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The final project I would like to highlight is Odd Renditions. The four track EP saw Oddisse remixing and rapping over some of his favorite artists which included K-OS, Bon Iver, Metronomy and Marvin Gaye. The end result is stunning, unique, and timeless.  The project is a strong argument for why remixing music is immensely beneficial for everyone from the original artist, the remixer and most importantly the listener.

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Moving from his earlier work to present day, Oddisee recently linked up with french producer 20syl for ‘Ongoing Thing’. A perfect match with a flawless fusion of hip-hop and electronic influence to create  a smooth summer  anthem. On the track he raps ‘I ain’t asking for change, I’m good at coining a phrase/ What I want is more than ever and never to fade away/ Is that too much to ask? Good, cause I ain’t askin’/ Already into action, I’ll have your answer retracted”. Considering his drive and the amazing music he has already created he’s poised to do just that. Oddisee’s catalog goes far deeper than the music showcased within this post. For even more Oddisee be sure to check out his BandCamp page and official website.

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Follow Oddisee on Facebook, Twitter and SoundCloud.

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