Florida-based, Los Angeles-native, June3rd, proves that there is power in speaking his truth.

Over genre-blending soundscapes, the musician uses full transparency to talk about his life, experiences with love, and accomplishments. Likewise, the singer-songwriter breaks the stigma about showing emotions, only proving that it’s okay to be vulnerable. In turn, June3rd hopes to resonate with those who are listening.

He describes himself as an introvert, a creative, loyal, and determined man who is persistent for the things he wants out of life.”When you listen to me, I want you to feel like you’ve been in the same situation before,” he explains.

“My sound is based on blatant honesty. I say a lot of things other artists don’t say. Everyone has feelings and a unique way of expressing them, so I look to be the voice for people who aren’t as sentimental but still want to get their points across without putting on a facade.”

Vocally, he carries a mesmerizing falsetto range, which meshes well with a plethora of groove-worthy beats. Some might compare his crooning to the likes of The Weeknd and Trey Songz. His musical styling dabbles in trap, hip-hop, and alternative R&B.

Contrary to assumptions, June3rd’s pseudonym doesn’t signify a particular date. In actuality, the name pays respect towards his late grandfather. June’s end-goal was to keep his name alive.

“I got the name from my grandfather. His nickname was June. When he passed away, I wanted to keep the name alive, so I put a twist on it to be the June of the third generation,” he says.

After being introduced to icons like DMX and Boyz II Men, The Fugees, K-Ci & JoJo, and more by his father, June3rd began to admire different music styles.

 

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who killed captain Alex ?!

A post shared by JEMENI. (@june3rd) on Jan 29, 2020 at 4:20pm PST

And though he admits to being so bad with recording, it didn’t stop him from honing his craft. Over time, June3rd fell in love with getting better, and he hasn’t stopped creating bangers since. He’s inspired by himself.

“I doubt I would have been so passionate about music, as I am now if it were so easy at first,” he continues. “The challenges in finding out who I was as an artist made me fall in love with the process.”

Lights and good vibes keep June3rd motivated in the studio. Hearing the melodies also amps him up about the forthcoming records.

In 2016, he moved from Florida to Los Angeles and continued writing out of Eric Bellinger’s studio. He made his debut with the single “Thirsty,” which garnered 3.1 million Soundcloud plays as he further developed his sound’s staple.

Additionally, June3rd has collaborated with NBDY on his single, “Fraction,” and Gianni & Kyle on their track “hit my line.”

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The road to JEMENI

 

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this life is something I would die for… 💸

A post shared by JEMENI. (@june3rd) on Sep 14, 2020 at 6:35pm PDT

Currently, June3rd is readying for the debut of his album JEMENI. The project is said to explore the mindset of someone struggling with commitment and relationships. It’s a tug of war between what they’re hoping for and what’s happening. They can either choose to give 100 percent to their love life or be single and face the consequences.

Even though June3rd is still adding some touches to JEMENI, he’s getting his fans excited for it by dropping visuals and teasing the songs’ snippets.

One track he enjoyed making was “Ocean Drive” because the creative process was a vibe. Likewise, he recommends listening to “Friends” in the car. As for theme songs, June3rd lists them all as the soundtrack to his life. The only difficulties he overcame while making JEMINI is finding out what’s missing.

Standout tracks include “Wait 4 It” and “1942,” which have already gained much traction, following their release.

“Wait 4 It” is a warm, upbeat R&B offering that carries 808 slides, wind percussions, soft harmonies, and a booming bassline.

Lyrically, “Wait 4 It” centers on a couple’s built-up excitement after not seeing each other for a long time. As the song continues, June3rd uses a velvety register to detail what the two will do through the late night and their lovemaking techniques.

“She gone use two hands, she ain’t saying grace,”  he delivers.

Elsewhere, he expresses his admiration for her, saying, “Got my full attention/She my new obsession.” He also would like to know how to keep her smiling. June3rd wrote the song alongside RIAA certified platinum writers/producers Dream Addix. “Wait 4 It” is accompanied by a visual that’s directed by Sony Boiz.

Each shot sees the musician having intimate moments with a beautiful woman he’s interested in. Once he arrives at her home, they caress each other in the bedroom, living room, and kitchen.

Generating over 100,000 streams in a few weeks on Spotify, “1942” sees June3rd boasting about his exclusive drip, jewelry, and latest successes. To add, the artist tells all about his charm, ways with women, and getting to the bag.

Deeper into “1942,” June3rd also warns smack-talkers, saying, “My nigga got the glizzy on his hip/just in case a nigga want to trip.” Sonically, the song carries an atmospheric R&B soundscape. The elements are a booming bass, hi-hats, wind percussion, kick-snares, and piano loops.

Sony Boiz also directs the visual for “1942.”

Between scenes, you’ll see the aftermath of a crazy party. Once one of June3rd’s friends show him a video of what happened, it seems like June3rd has no recollection of what happened. Following this, the music video gives a backstory of what went down that night.

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As June3rd preps for the release of JEMENI check out some more of his music below

 

As we transition from the early stages of a very long winter into the promising taste of spring, we’re feening for some music that captures the energy we need. The energy we feel, but don’t know how to release yet.

Enter Playboi Carti, our favorite mumble rapper, and summertime banger producer. Carti’s carefree attitude enables us to be our best selves, our least restrictive selves. And especially after this haunting Winter and Spring, we need that untroubled vitality in our lives.

Uzi’s Eternal Atake helped carry us through the rough months, now Carti can you pull up to give us newfound life and optimism? We need you dog.

Carti hinted on his Twitter yesterday at some new music dropping. Steer the ship fam, and lead us in the direction of salvation.

pic.twitter.com/nevbxXpuek

— 🧛🏿‍♀️ (@playboicarti) April 14, 2020

In addition to Carti’s immeasurable success on tracks, comes his enigmatic life outside of the studio. This mystery makes him even more enticing as an artist, as a beacon of hope for the young generation leaning away from conventionality and how “music is supposed to be made.”

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@playboicarti shot for the cover of @brickthemag. Out Now. Styled by @jaysonhindley Grooming by @crystabelmakeup. #playboicarti

A post shared by Neil Bedford (@neil_bedford) on Dec 8, 2017 at 1:05am PST

As we wait on new music from Carti, we did all we could do for now: review his old work. Revel in the brilliance of his lines, in the soothing melodies of his tracks.

In addition to the brazeness of his plethora of singles and mixtapes, Carti’s two albums, released in back-to-back years, gave us so much heat it’s hard not to stan.

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A post shared by @gunnerstahl.us on Oct 23, 2019 at 5:09pm PDT

Playboi Carti, Carti’s first studio album, starts off with Location, a delicate song that feels like it should play the moment you wake up in the morning and see the sun peak through your window.

Of course, then we get Magnolia, probably the most famous track on the album.

“In New York I Milly Rock,” Carti declares, inspiring countless dance videos and memes like Tobey Maguire’s Spiderman stunting through the city streets with Carti playing in his ears.

And then, as we’re settling into the album, sitting back and nudging our friend on how hot its start is, we get back-to-back songs with Uzi. These two collaborating is enough to make you thank the heavens.

Forreal though, “Lookin” and “Wokeuplikethis*” showcase Uzi and Carti in their best lights.

“I’m a rockstar,” Uzi beams.

In fact, Carti and Uzi are both rockstars, separate from all other artists and genres even. Their collaborations always hit with a certain intensity; they are two artists with completely unique sounds and personas. Hopefully, we’ll see more of it in the near future.

There are a collection of other bangers on this album, like “Dothatshit!,” “Yah Mean” and “Kelly K.” Realistically, the entire album is Charizard level heat.

Then in 2018, Carti popped out with Die Lit, a summer album in every sense.

“Woke up with my toolie what it do?

Meet me in the alley with the troops,” Carti sings.

This is the quintessential summertime album. Positivity, unabashed confidence, an unworried attitude. In addition to the aforementioned Shoota, the album gives us bangers in “Right Now,” “Fell in Luv” ft. Bryson Tiller, “Mileage” ft. the great Chief Keef, and my personal favorite “No Time” ft. Gunna.

Lest we forget the album has an intro that could make a thug cry.

These tracks echo with upbeat flavors and dance-inspiring melodies. It’s g-note lowkey hard to listen to this music and not tap your feet like a groovy goat or imagine yourself skipping down the street like a mischievous leprechaun.

Carti’s music allows, nah, encourages one to close their eyes and feel, rather than search for meaning. There is an intrepid mystique to Carti’s music and an intrinsic nature of life to his tracks.

Of course beyond Carti’s (real name Jordan Terrell Carter) albums there are hits scattered across all platforms. Oh and his endless list of features from Solange to Lana Del Rey. Songs like “Lost,” “Hit A Lick,” “Don’t Worry” (ft. Wiz Khalifa) are all brimming with new sounds and moods.

“Can’t worry about dis. Can’t worry about me,” Carti raps on the latter.

It’s coming up on two years since Die Lit. What better time than now, when people are stuck at home, but warm weather is coming, to release an album that encapsulates our frustration and our yearning to express, to dance, to #rage.

What better time than Summer 2020 to release an album that will shout throughout history, that will echo throughout eternity? Every artist wants to be the defining artist of a decade, of a generation.

It is the first year of a new decade, a fresh start that has started off about as horrid as anyone could have imagined. Yeah, even Steven King or Ari Aster and their twisted, yet brilliant, minds.

Carti’s gearing up for something, it’s apparent. Especially with his latest drop.

He has the defining sound to represent a generation, in many ways, this is what he has already done? But one more timeless album would etch Carti’s name in music royalty.

We can’t wait to see what it is. For now, check out our mixtape full of hot mash-ups, and dope tracks from Carti’s catalog.

The President has spoken!

Yesterday (May 23rd), G.O.O.D. music president Pusha T held a listening party for his upcoming album, Daytona, which is expected to drop this Friday (May 25th).

During what looks to be a packed out club, Pusha revealed that the length of his upcoming album is only seven tracks long.

“Seven, you know, definitely the God number,” he said. The rapper went on to say that G.O.O.D. Music likes to do things differently, and if other artists are dropping lengthy albums, the label would do less.

“All the projects coming out is seven. That’s what we going for,” Pusha continued. “You know G.O.O.D. Music anti-everything. If everybody doing 18 tracks, we doing seven.”

Pusha T hints that all the new G.O.O.D. Music albums will be seven tracks long: “Seven, you know, definitely the God number. All the projects coming out is seven. That’s what we going for. You know G.O.O.D. Music anti everything. Everybody do 18 tracks we do seven.”

A post shared by XXL (@xxl) on May 23, 2018 at 7:47pm PDT

Being that Pusha’s last album was three years ago, he has had the opportunity to survey the state of the culture. The question is, does he have a point? Are EPs the preferred way to listen to albums?

For one, it’s definitely counter-culture. The current top three selling albums, Post Malone’s Beerbongs & Bentleys, Playboi Carti’s Die Lit, and J. Cole’s K.O.D. are all significantly long, with Cole’s 12-track offering being the shortest. However, it is consistent with what G.O.O.D. has already put out this year.

G.O.O.D. Music’s newest signee, Valee’s, mixtape GOOD Job, You Found Me was only six tracks long and long-time signee Desiigner’s debut studio album L.O.D. was only seven songs in length.

Maybe Kanye’s choice for label head was drawing the curtains back too far because Pusha might be on to something. In an era where our intention spans are shorter than ever and where new music is consumed at alarming rates, EP’s make sense. If you go the route of releasing EPs rather than albums this can result in you actually releasing more music more often.

EPs also work well because they’re more concentrated. Because the project is shorter it means no song can be wasted — leaving no room for fillers. Additionally, artists who only release six songs can spend more recording time (and money) focusing on those six songs. If this involves studio time, it translates to money saved or more attention paid to getting top-notch tracks.

Clearly, G.O.O.D. music has a strategy they’re implementing for the label, and, quite frankly, I’m here for it.

Daytona is already receiving quite the buzz despite no official promo, especially after  unveiling the full tracklist which features songs such as “If You Know You Know,” “Santeria” and “What Would Meek Do.”

pic.twitter.com/0sbuRNAWk7

— Elliott Wilson (@ElliottWilson) May 23, 2018

Adding to the anticipation of Pusha’s album is his claim that the album is flawless, according to a leaked text message by Def Jam executive Steven Victor. “My album is soooooooooooo good Rico,” Push wrote. “I’m scared to say it, but I think it’s flawless.”

Of course, until the album drops all the surrounds it is hype. Until then, we’ll be ready.

Cardi B is a rap star. Like, a legit household name in hip-hop that you must take into account when discussing the who’s who in the industry.

Hours after it’s release, her debut album Invasion of Privacy went gold (thanks to the massive success of the single “Bodak Yellow”), she’s co-hosting late-night programs, opening SNL, and doing whatever else you can imagine. When it comes to mainstream, Cardi has more than transcended that threshold.

However, prior to 2016, when she released her first body of work, Gangsta Bitch Music, Vol. 1, Cardi hadn’t done music at all.

In fact, she was internet famous from Instagram and had just begun dabbling in the music industry with Love and Hip-Hop. You can say she’s been making music seriously for less than four years before her now inescapable fame.

Despite her inexperience, she’s sold well and has gotten rave reviews. In fact, Pitchfork gave her a higher rating than Jay-Z’s 4:44, Tyler, The Creator’s Flower Boy, and even Kanye’s College Drop Out .

While her rapping wasn’t anything spectacular and her singing voice, not the best you’d hear, somehow she’s managed to do what millions of aspiring rapports dedicated their entire lives to accomplish: making a successful hip-hop album.

Cardi B’s Invasion of Privacy proves that it’s not always the most talented that wins, that likability does wonders, and that social media is a powerful tool.

When you bring these factors together you become an asset worth investing in, such as the case with Cardi B.

Talent does not always win

You can reference Tink, Rapsody, Noname or countless of female rappers who are fundamentally more talented than Cardi B.

The Bronx native is a treasure and this is no shade, but it’s safe to say that her rapping skills don’t exactly have the “wow factor” her contemporaries possess. Yet, she scored an 8.6 from Pitchfork and has had a number one song on the Billboard.

That’s because talent does not always win.

When you listen to Invasion of Privacy, you feel everything you experience when you consume Cardi B in whichever medium you may catch her. It’s fun, it’s relatable, it’s personal, it’s authentic.

A lot of times we may wonder why certain artists aren’t bigger than they are, and that’s a part of it: they’re not able to convey a relatable enough story through their music. Cardi B and her team were able to do that in a genius manner.

Songs like “Bickenhead” which is new fun re-do of Project Pat’s “Chickenhead” and “Be Careful” which is a raw heartbroken ballad that is perfect for singing along, are examples of how she leans on what she knows and how she excels by staying in her lane.

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Social following helps

Cardi B is a social media savant and gets that her transparency appeals to her constituents. She’s given dating advice from the perspective of a Bronx stripper and has been very honest about surgical augmentations that were done to her body.  So, when it was time for the release of Invasion of Privacy, it was only right that her hive supported in droves.

Cardi’s presence on Instagram, Twitter and Snapchat is a testament and should be a case study to how to be successful in music in this era. The larger the social following, the more markets you reach.

As before where radio boxed you into specific regions and particular audiences, social media opens the doors to whomever you can get to buy in. This put Cardi B a step ahead when she did decide to pursue music two years ago.

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Resources are everything

Cardi B signing to Atlantic Records in 2017 was one of the best decisions she could have made. The independent lane has been gloried of late, a la Chance, Tech Nine, and others, but when you’re already bubbling — as Cardi was, being on cable television and having had a social following– sometimes all you need are the right resources to help optimize.

Her biggest single “Bodak Yellow” and the lead single to Invasion of Privacy, “Be Careful” both have writing credits to Jordan Thorpe, which is the pen name for New York rapper Pardison Fontaine, and she’s been open about having multiple ghostwriters on the project.

Invasion of Privacy is carried by names like Chance tha Rapper, SZA, 21 Savage, Migos, and Khelani, not to mention a press tour that has not missed a news outlet yet. All these things help, especially when you’re brand new to the music industry.

How Invasion of Privacy was catered around Cardi B’s strength’s — the rollout, the features, coupled with her reliability and popular social media presence, all go into what makes Cardi B the hottest name in hip-hop right now and why her album is actually a decent listen.

Though it makes you happy for Cardi, it also makes you think what that means for other viral successes who want to leverage their influence and optimize their following?

If all it takes is some authenticity, a mass following, and a team with the resources and vision to mold just the right album around you, why can’t others follow Cardi B’s footsteps?

Jake Paul, a famous YouTube star who makes millions off his YouTube channel, was rumored to have signed with Atlantic Records just last year and the infamous ‘Catch me outside’ girl, Danielle Bregoli, who goes by Bhad Bhabie, signed with Atlantic Records in 2017.

None of the two have a background in rap and neither of them attempted music professionally until after having viral fame. The perfect case study is Boonk. He is a kid who got viral fame from being a menace to society. Out of nowhere, he has pivoted and just recently started doing music. The transition seems to have gone smoothly as he has already shared the stage with Lil Pump and Lil Yachty.

I see talent in Cardi B; there’s something special about her and she could have a long career if she wanted. What she has opened a door to – an internet sensation with the right team has a shot at the hip-hop crown.

Whether that’s a good or bad thing for the genre is for the future to decide.

SiR, who spent the beginning of his musical career behind the scenes, has stepped out into the spotlight with November, his first album since signing to Top Dawg Entertainment a year ago.

SiR began as an engineer, working with artists like Tyrese, before teaming up with songwriting team Dre and Vidal and honing his songwriting craft. He then worked extensively with Anita Baker and would go on to write for R&B mainstays like Jill Scott and Ginuwine.

The current R&B landscape is still largely characterized by a post-Weeknd identity crisis. As revolutionary and different as House of Balloons was, that record has become as well-known for spawning an entire generation of Bryson Tillers and Tory Lanezes trying to replicate Abel’s magic rather than its actual quality.

But every aesthetic trend will always produce a pushback. Take, for instance the aggressive, lo-fi work of young rappers like Smokepurpp, Lil Pump, and Tay-K. Their music can be seen as the sonic response to years of sadboy Drake imitations.

This is all to say that while R&B swung heavily towards the dark, drug-addled sounds of early Weeknd, some artists are bringing back the genre to its heyday, adding a little new school spin. Brent Faiyaz, Daniel Caeser, Jorja Smith, Kelela, and Kali Uchis have all made amazing R&B music in the past year that recalls the genre’s best qualities.

This is where SiR comes in.

November is very much in the old school R&B mold, especially in its simplistic, soulful production, but much of the reference and lyrical content on the record is more modern. Perhaps the most outwardly modern aspect of November is SiR’s companion ‘K’, a disembodied voice that checks in on SiR, and subsequently the listener, on their journey throughout the record.

The album begins with K and SiR discussing the status of his engines, reserve power, weapons, and shields of their spaceship, or whatever vehicle we are using on this journey, before K let’s everyone know we’re ready to go.

A musical project that carries a theme of a long journey suggests that that work will have some pretty large aspirations. But November is very well-contained. SiR, while he’s able to switch up his singing style depending on instrumentation, keeps his project well within the familiar R&B margins.

“That’s Alright”, the first actual song on the record, after our opening with K, is backed with simple drums and live-sounding bass and organs. SiR sings mutedly about a love interest that he’s especially into, despite the fact that her friends are skeptical “‘Cause they know I would trade her love for a Grammy.”

It’s interesting to hear this sort of modern songwriting over such retro-styled production, but this is one of SiR’s great skills. It’s what makes November both sonically entertaining but also lyrically interesting.

“That’s Alright” is followed up by “Something Foreign”, the album’s lead single with SiR’s TDE labelmate Schoolboy Q. It’s a slow-rolling ballad about enjoying the finer things in life despite the coldness of the world. SiR sings,

“Tryna keep it humble in a world full of egos, gangsters and evils
Player in the game but I’m making my own rules”

The somber pianos on “Something Foreign” beautifully contrast SiR and Schoolboy’s cool boasts, it’s a pretty great track.

Then comes “D’Evils”, which samples Billy Bojo “One Spliff a Day”. “D’Evils” is as groovy, soulful, and fun of an R&B record in recent memory. It’s just a smooth ass song about getting high. What makes SiR’s music so particularly effective is the way his voice seems to simply roll over the production.

It never feels like SiR is trying too hard, even when the product of his work is as effective as “D’Evils” or “Something Foreign”.

That’s also the case on “Something New” a duet with British songstress Etta Bond. With horns that sound like they were taken from There’s A Riot Goin On, SiR and Bond sing about rediscovering that passion with an old love

“And if everything else falls apart, I still have you
If I can’t find my way back home, we’ll make something new
Something new”

SiR is capable of making ballads about smoking loud and his love for his partner. That’s true versatility!

On “Never Home”, twinkling instrumentation accompanies SiR on a monotone, quasi-spoken word track about life for a young up-and-coming musician. He’s not too worried about the voicemail from an aggrieved (assumed) former lover that plays throughout the song (never leave a musician a voicemail!).

After using his speaking voice for the entitreity of “Never Home”, “War” is a more typical romantic R&B ballad. And while he was a little unmerciful on the previous song, at least from the woman in the voicemail’s perspective, SiR is as sappy as possible on “War”. He’s ready to make up for previous mistakes with his partner.

“Yes I, let you down
I wasn’t the man you wanted to fall for the first time around
Ammunition just wasn’t sufficient
The bullets in my pistol kept missin’
Your heart, but I’m re-loaded”

Then on “Better”, SiR is full of regret for losing someone that he wasn’t able to show his love for. “Better” has the most contemporary sounding production on the record, with filtered vocals and rolling hi-hats. The entire track is basically SiR listing off his various reasons for not being ready to really be there for a former partner.

“She just wanted to love me and I wouldn’t let her
Now she don’t know me, ’cause somebody treatin’ her better”

At the end of “Better” we have an emotional check in with K as SiR directs his disembodied voice companion to delete the transmission.

K responds “Transmission deleted. Are you okay?” SiR sighs and tells her to initiate sleep mode and autopilot before the final stretch of the album.

On the final two tracks on November, SiR is at his soulfoul best. Over the “Xxplosive”-sounding guitars on “Dreaming of Me” SiR’s voice soars along the track as he sings about being separated from his lover while he’s on the road. After the emotional intensity of “Better” and “War”, there is a sense that the easily digestible “Dreaming of Me” is a sort of musical autopilot. Also, it’s not a mistake that we’re in “sleep mode” and this is a song about dreams.

November‘s final track “Summer in November” features funk guitars that could’ve been on Miguel’s last album. SiR is definitely taking a page out of Miguel’s book with the quick bite in his voice as he sings “You’re summer in November darlin’.”

It’s a great conclusion to an album that charts a journey from beginning to end. Sometimes that journey is arduous and emotionally painful, at other times it’s extremely pleasant and full of levity.

Either way, you gotta stop and admire the view.

London-based band Ulrika Spacek will release Modern English Decoration, their second studio album, on Friday. Their label, Tough Love Records, has the album up on SoundCloud.

https://soundcloud.com/tough-love/sets/ulrika-spacek-modern-engish

Ulrika Spacek, pronounced “uhl-ri-kah spe-sec” is a mix between Ulrika Meinhof and Sissy Spacek. Ulrika Meinhof was a left-wing terrorist in West Germany in the 70s who hanged herself in her prison cell after being charged with a litany of violent and philosophical crimes and Sissy Spacek is a famous American singer and actress.

The band was formed in Berlin by two English dudes named Rhys (Williams and Edwards) and comprises of five guys, three of which are on guitar.

This multi-layered guitar makeup makes Ulrika Spacek a particularly interesting-sounding group, able to operate between the smallest of arpeggios to full-blown Phil Spector wall of sound.

On “Dead Museum” Ulrika Spacek starts off with typical jangly, slow-paced guitar melody and then devolves into distorted, wall of sound.

There’s evidence of Pavement and definitive traces of a lot of shoegaze on Modern English Decoration, even some contemporary American alternative influences apparent, but with an added tinge of psychedelic and airy vocals and guitar riffs.

The title track “Modern English Decoration” shows the different elements making up Ulrika Spacek’s sound. There’s a dreamy, floaty quality to their music, a sort of dim hovering that makes Ulrika Spacek’s music pretty intriguing.

Modern English Decoration makes for some cool listening. You can check it out over at Tough Love Records’ SoundCloud and buy/stream the album on Friday.

Yesterday, after Takeoff released his first ever solo endeavor, the stripped down “Intruder”, Migos fans were convinced the ATL trio were about to split up and go their separate ways.

Takeoff’s release came off the back of Offset’s “Monday” and Quavo’s “Paper Over Here”, all released on producer OG Parker’s SoundCloud, further fueling the rumors of, if not a break up, at least solo work from each member of the best group in hip-hop right now.

Earlier this month, Travis Scott claimed a collaborative album with Quavo was “coming soon”, and the de facto leader of the group is popping up all over the music industry with features everywhere from Liam Payne (why?) to Mary J. Blige to DJ Khaled to Lil Durk.

So what’s good? XXL reached out to Migos collaborator and producer OG Parker, who posted all three the songs, whether fans should be expecting solo work from Migo Gang.

OG Parker denied any solo goings on and took personal responsibility for the release of the three tracks. From XXL,

“I really just told them I plan on releasing a couple songs on my SoundCloud. That was really just me dropping the solo tracks. That wasn’t their idea or anything.”

Are there plans for solo shit in the future? OG Parker says not to his knowledge,

“I never heard anything about solo projects… I always just hear Migos. All I hear is Migos stuff. They always just talk about Migos.”

As cool as these little solo songs are, that Migos are not stressing to do solo shit is reassuring, at least to me.

Especially coming off the release of Culture, why would Offest, Takeoff, and Quavo want to jet off in their own directions? I mean, dudes are literally family, “Bad and Boujee” is certified platinum, and their music is debuting at #1 on the Billboard charts to universal acclaim.

But because of Quavo’s apparent start power, certain outlets and fans are pushing for solo work from the Migos.

It might be cool to hear some solo projects at some point from Quavo, Takeoff, and Offset, but they have so much more to accomplish together!

Some are convinced that it’s all just a conspiracy to break up the new Beatles.

This whole Quavo vs. Offset vs. Takeoff power struggle is nothing but the white man tryna split the Migos up so they don't pass The Beatles.

— Craig The DJ (@DJTGIF) May 15, 2017

I’ve gotta be honest, I was just happy to see Takeoff out here doing his own thing, getting some shine.

https://twitter.com/Niicksx/status/867527153843306496

Back in the YRN days Takeoff was the lead voice before y'all hypebeasts even knew Migos was three individuals

— troythedesigner 🦂 (@troythedesigner) May 24, 2017

https://twitter.com/IamAkademiks/status/867454270857150466

https://twitter.com/Ch0pped/status/865282406953218048

For me, I’m glad the Migos are staying together, I think they perfectly compliment each other and can truly take over this rap shit as a group.

Why go solo?