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Photographer Anthony Supreme Talks Working With J. Cole for ‘4 Your Eyez Only’ Album Artwork

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HustleTV Music News  Life-changing decisions can occur at any moment. For photographer Anthony Supreme, the turning point in his life came to him while sitting in his Campervan, the vehicle he bought after he uprooted his life in Monroe, North Carolina to pursue a film career in Los Angeles.

“I sold my car and bought a camper. I wasn’t poor, I just chose a lifestyle where I didn’t want to spend a lot of money,” Supreme tells Billboard of his move to the West Coast two years ago. “I remember being in the car just looking up and saying ‘Why don’t you just start doing photography?”

Supreme also recalled telling his girlfriend about his desire to work on an artist’s album cover one day and his dreams soon turned into reality. His “in-the-moment” photography style drew the attention of director Scott Lazer, who helmed J. Cole’s HBO special J. Cole Forest Hills Drive: Homecoming, which aired in January. Lazer reached out to Supreme for the chance to work on Cole’s upcoming effort 4 Your Eyez Only, slated for release on Friday (Dec. 9).

The photographer toured with the Dreamville founder for two weeks documenting Cole’s writing sessions to spontaneous outings, including a stroll in an Atlanta neighborhood reflected on the cover of J. Cole’s forthcoming album. Billboardcaught up with Supreme to discuss working with Cole, his North Carolina upbringing and social media’s effect on photography. HustleTV

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J. Cole Drops ‘Everybody Dies’ and ‘False Prophets’ Videos: Watch

When did you first get into photography?

I got into photography probably about two years ago, and then I’ve been directing content like film and music videos for like four or five years; I officially got serious with photography probably like two years ago once I moved to L.A. two years ago to kind of pursue everything.

Did you study photography in school or was it just a hobby that you took up?

Actually, it was something I kind of picked up. I never went to school for it. I picked it up one day like three, four years ago because I did mostly a lot of music videos around the Charlotte area with artists from Charlotte and I kind of felt a connection with it so I was like, maybe the best move is to go to LA. HustleTV

What was it like growing up in North Carolina?

North Carolina has a life of its own. It’s like a country town — there’s black people, there’s white people, dirtbiking and country kids for the most part. There’s a lot of history in North Carolina. My dad and my grandma grew up in slavery, which isn’t that many generations away and you can find the old heads in the area who can give you stories. My dad isn’t even that old, he’s like 60, but he has stories of when he was a kid seeing black men running down the street from the [Ku Klux Klan] in the countryside so that area has that setting. North Carolina isn’t like that now of course but it’s definitely a changing world. 

How would you say your upbringing and experiences influenced your visual approach?

I’m amazed by the vintage trend and just trying to connect with the past along with the present so I think there’s something special about the imperfections of an old image. Its imperfections give it this authenticity. We live in a world where everyone’s trying to be perfect, a society where we try to perfect everything. Sometimes it’s good to have imagery or anything that resembles imperfection. The imperfection gives it that characteristic. With some of the images I capture, it’s not perfect but it makes you feel some type of way. HustleTV

How did you develop your photography style?

I love the 35mm. I love black and white which is kind of cool that Cole picked the same aesthetic I like. I kind of developed it through testing different things and trying to figure out what I like and just staying on that path. I always had a fascination for albums and album covers. They’re like a symbolization of time periods so I kind of developed my style by just trial and error. I think it’s good to keep what you feel and not try to change up.

Where do you draw your inspiration from?

I draw my inspiration from everything. I watch photographers, I watch a lot of movies. There are Instagram accounts that give you photos everyday to draw inspiration from with different artists and photographers. Even from a visual standpoint, there’s so much content. I think you can find inspiration anywhere. Inspiration for photography comes from other people and the world. I traveled a few places so it kind of gave me this different perspective of everything too.

Do you feel that social media ruins photography because everyone nowadays can be a photographer?

Yeah, pretty much but at the same time everything in life has cause and effect like Instagram or Tumblr or even the accessibility to cameras. The price range for having a DSLR camera is low and it gives people who don’t have money the ability to be a creative person. It allows them to get their creative energy going so it’s kind of a good and bad thing. If you’re good at what you do then you’re always gonna find a way to stand out. You take your circumstances and try to make the best of it. 

How do you differentiate yourself given the circumstances?

Just connecting with people. Hustling, too. Trying to figure out my direction. At one point, I was trying to do the whole [shooting a] model thing and I realized the model stuff is just whack to me. During that whole discovery [period] to now, I’m just trying to figure out my own direction — what do I love. Being a freelance photographer, I found the album, artist route. I love that.

For the J. Cole project, describe the overall direction you were going with while shooting the digital booklet.

It kind of goes along with the same theme as the cover. There’s a lot more black and white [images] but it was really all Cole’s idea. They shot “False Prophets” months ago and I remember Scott [Lazer] showing it to me back in July and then we just all got together, went outside and started to shoot. Scott liked my simple, in-the-moment shooting. Cole liked the fact that it was so spontaneous so he woke up one morning like, “Man, let’s go outside and shoot some stuff and see what happens.” He liked the fact that it wasn’t what he’s used to doing so that kind of sparked the idea for us to do the same thing with everything. We all got together on this two-week tour to create stuff. There’s so much footage that’s not even in the 40-minute documentary. Everything was coincidence. HustleTV

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How do you think the album cover relates to the title 4 Your Eyez Only? In your Instagram post, you noted the boy’s eyes. 

There were people all around Cole like, “What are you doing here?” and the kid was amazed because he was reacting to everything around him. He didn’t know who Cole was. He was just a kid living his life in this neighborhood like, “Why are people treating this person different?” Everybody in this world is born with a blank slate, we don’t know anything about the world. The world kind of feeds us what we’re supposed to be but in reality, we really are human beings, we’re all connected and the kid was kind of like that to me. Because he didn’t know Cole, he was just treating Cole like a regular person and in reality, that’s what Cole is. Just because he has awards and money doesn’t change the fact that he’s just a regular person.

Everybody was trying to tell him, “Why you not reacting the same way we are towards him?” I shot 10,000 photos during the whole process. I had like six, seven of those photos, in that particular style and that kid was always involved in those photos and Cole told me if you see something, let me know or point it out so I built the confidence to actually go up to him and say, “I think these stood out to me. I feel like these would be a dope album cover.” I’m not sure why Cole picked that specific photo but maybe the kid affected him the same way he affected me.

What was it like traveling and working with Cole?

It was amazing. A lot of the artists I’ve worked with are sometimes in that artist, fantasy world and Cole just wasn’t like that. When I first met him, I didn’t want to be too relaxed around him. Though he has that business mindset, he’s still that type of person. As a photographer, I really don’t ever have to do a cover again after this. [Laughs] HustleTV

How did you approach this project differently from past projects?

I passed up on an opportunity to do an album cover before but I remember I was with my girlfriend in a record store and I kept seeing album covers. To me, album covers are pinnacles of time, there’s so many of them and [I thought] it’d be great for me as a photographer to do it but I didn’t know who. Then, a week or so later I was in my camper and then Scott texted me like, “Yo, you want to shoot these photos for Cole’s album?” and I didn’t see that coming. I’m not sure why that happened but this situation was like, “Here’s your opportunity, this is everything you wanted, everything you f–ked up on prior to.” You know what works for you, just go have fun.

You’ve directed multiple short films and music videos and done a lot of photography in the past. Is there a medium you prefer over the other?

I love directing probably more than photography but photography is more relaxing. Photography and film is the same in a sense because you get a feel of what something’s supposed to look like. Both have helped me in multiple ways.

Looking back at your past works to this most recent project, how would you describe your evolution.

My evolution was s***ty as f**k, it was horrible. [Laughs] Just learning and thinking you know enough then realizing you don’t know enough, I just kept going. It’s an on-going process of trying to get it right in your mind. I think it’s the same thing like Cole. He’d be in the back of the bus perfecting his craft while everybody is out partying. I think for me, it’s that process of actually learning that part and then also being okay with myself and then being okay with my style and bettering it. HustleTV

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Drake Celebrates ‘Views’ Quadruple Platinum Certification

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HustleTV Music News While 2016 has been a bummer for many, Drake is having a phenomenal year.

On Monday (Dec. 5), the RIAA announced that the hip-hop superstar’s fourth studio album, Views, has been officially been certified quadruple platinum. The honor marks 4 million units sold with 100 streams counting as one certifiable unit.

Views is Drake’s second album to hit the quadruple platinum milestone, following his 2011 sophomore release Take Care. The album was released April 29 and was certified double platinum June 9 and triple platinum on Aug. 3. HustleTV

Rihanna and Drake pose onstage during the 2016 MTV Video Music Awards at Madison Square Garden on Aug. 28, 2016 in New York City. 

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Drake & Rihanna Top Spotify’s Year-End Lists

In September, Apple Music announced Views was the streaming service’s first ever album to hit 1 billion streams. Last month, the album hit 3 billion streams on Spotify and last week topped its year-end lists as the most streamed artist in the United States and internationally. HustleTV

Drake celebrated the news on Instagram:

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Here Is the Complete List of Nominees for the 2017 Grammys

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HustleTV  Music News The nominees for the 59th Grammy Awards were announced this morning (Dec. 6), with last year’s Best New Artist winner Meghan Trainor unveiling the contestants for the marquee categories live on CBS. The field is led by Beyonce with 9 nominations, followed by similarly huge stars Drake, Rihanna and Kanye West  (8 each).

But of course, with 84 categories in all, the Grammys are always about far more than just the biggest names. Here, Billboard presents the complete list of nominees for music’s biggest night, to take place on February 12, 2017.

GENERAL FIELD

Album Of The Year:

25 — Adele
Lemonade — Beyoncé
Purpose — Justin Bieber
Views — Drake
A Sailor’s Guide To Earth — Sturgill Simpson

Record Of The Year:

“Hello” — Adele
“Formation” — Beyoncé
“7 Years” — Lukas Graham
“Work” — Rihanna Featuring Drake
“Stressed Out” — Twenty One Pilots

2017 Grammys

Song Of The Year:

“Formation” — Khalif Brown, Asheton Hogan, Beyoncé Knowles & Michael L. Williams II, songwriters (Beyoncé)
“Hello” — Adele Adkins & Greg Kurstin, songwriters (Adele)
“I Took A Pill In Ibiza” — Mike Posner, songwriter (Mike Posner)
“Love Yourself” — Justin Bieber, Benjamin Levin & Ed Sheeran, songwriters (Justin Bieber)
“7 Years” — Lukas Forchhammer, Stefan Forrest, Morten Pilegaard & Morten Ristorp, songwriters (Lukas Graham)

Best New Artist:

Kelsea Ballerini
The Chainsmokers
Chance The Rapper
Maren Morris
Anderson .Paak

POP FIELD

Best Pop Vocal Album:

25 — Adele
Purpose — Justin Bieber
Dangerous Woman — Ariana Grande
Confident — Demi Lovato
This Is Acting — Sia

Best Pop Solo Performance:

“Hello” — Adele
“Hold Up” — Beyonce
“Love Yourself” — Justin Bieber
“Piece By Piece (Idol Version)” — Kelly Clarkson
“Dangerous Woman” — Ariana Grande

Best Pop Duo/Group Performance:

“Closer” — The Chainsmokers Featuring Halsey
“7 Years” — Lukas Graham
“Work” — Rihanna Featuring Drake
“Cheap Thrills” — Sia Featuring Sean Paul
“Stressed Out” — Twenty One Pilots

Best Traditional Pop Vocal Album:

Cinema — Andrea Bocelli
Fallen Angels — Bob Dylan
Stages Live — Josh Groban
Summertime: Willie Nelson Sings Gershwin — Willie Nelson
Encore: Movie Partners Sing Broadway — Barbra Streisand

DANCE/ELECTRONIC MUSIC FIELD

Best Dance Recording:

“Tearing Me Up” — Bob Moses
“Don’t Let Me Down” — The Chainsmokers Featuring Daya
“Never Be Like You” — Flume Featuring Kai
“Rinse & Repeat” — Riton Featuring Kah-Lo
“Drinkee” — Sofi Tukker

Best Dance/Electronic Album:

Skin — Flume
Electronica 1: The Time Machine — Jean-Michel Jarre
Epoch — Tycho
Barbara Barbara, We Face A Shining Future — Underworld
Louie Vega Starring…XXVIII — Louie Vega

CONTEMPORARY INSTRUMENTAL MUSIC FIELD

Best Contemporary Instrumental Album:

Human Nature — Herb Alpert
When You Wish Upon a Star — Bill Frisell
Way Back Home: Live From Rochester, NY — Steve Gadd Band
Unpsoken — Chuck Loeb
Culcha Vulcha  — Snarky Puppy

ROCK FIELD

Best Rock Performance:

“Joe (Live From Austin City Limits)” — Alabama Shakes
“Don’t Hurt Yourself” — Beyoncé Featuring Jack White
“Blackstar” — David Bowie
“The Sound Of Silence” — Disturbed
“Heathens” — Twenty One Pilots

Best Metal Performance:

“Shock Me” — Baroness
“Slivera” — Gojira
“Rotting in Vain” — Korn
“Dystopia” — Megadeth
“The Price Is Wrong” — Periphery

Best Rock Song:

“Blackstar” — David Bowie, songwriter (David Bowie)
“Burn the Witch”  —Radiohead, songwriters (Radiohead)
“Hardwired” — James Hetfield & Lars Ulrich, songwriters (Metallica
“Heathens” — Tyler Joseph, songwriter (Twenty One Pilots)
“My Name Is Human” — Rich Meyer, Ryan Meyer & Johnny Stevens, songwriters (Highly Suspect)

Best Rock Album:

California — Blink-182
Tell Me I’m Pretty — Cage The Elephant
Magma — Gojira
Death Of A Bachelor — Panic! At The Disco
Weezer — Weezer

ALTERNATIVE FIELD

Best Alternative Music Album:

22, A Million — Bon Iver
Blackstar — David Bowie
The Hope Six Demolition Project — PJ Harvey
Post Pop Depression — Iggy Pop
A Moon Shaped Pool — Radiohead

R&B FIELD

Best R&B Performance:

“Turnin’ Me Up” — BJ The Chicago Kid
“Permission” — Ro James
“I Do” — Musiq Soulchild
“Needed Me” — Rihanna
“Cranes in the Sky” — Solange

Best Traditional R&B Performance:

“The Three Of Me” — William Bell
“Woman’s World” — BJ The Chicago Kid
“Sleeping With The One I Love” — Fantasia
“Angel” — Lalah Hathaway
“Can’t Wait” — Jill Scott

Best R&B Song:

“Come and See Me” — J. Brathwaite, Aubrey Graham & Noah Shebib, songwriters (PartyNextDoor Featuring Drake)
“Exchange” — Michael Hernandez & Bryson Tiller, songwriters (Bryson Tiller)
“Kiss It Better” — Jeff Bhasker, Robyn Fenty, John-Nathan Glass & Natalia Noemi, songwriters (Rihanna)
“Lake By the Ocean” — Hod David & Musze, songwriters (Maxwell)
“Luv” — Magnus August Høiberg, Benjamin Levin & Daystar Peterson, songwriters (Tory Lanez)

Best Urban Contemporary Album:

Lemonade — Beyoncé
Ology — Gallant
We Are King — KING
Malibu — Anderson .Paak
Anti — Rihanna

Best R&B Album:

In My Mind — BJ The Chicago Kid
Lalah Hathaway Live — Lalah Hathaway
Velvet Portraits — Terrace Martin
Healing Season — Mint Condition
Smoove Jones — Mya

RAP FIELD

Best Rap Performance:

“No Problem” — Chance The Rapper Featuring Lil Wayne & 2 Chainz
“Panda” —Desiigner
“Pop Style” — Drake Featuring The Throne
“All The Way Up” — Fat Joe & Remy Ma Featuring French Montana & Infared
“That Part” — ScHoolboy Q Featuring Kanye West

Best Rap/Sung Performance:

“Freedom” — Beyoncé Featuring Kendrick Lamar
“Hotline Bling” — Drake
“Broccoli” — D.R.A.M. Featuring Lil Yachty
“Ultralight Beam” — Kanye West Featuring Chance The Rapper, Kelly Price, Kirk Franklin & The-Dream
“Famous” — Kanye West Featuring Rihanna

Best Rap Song:

“All The Way Up” — Joseph Cartagena, Edward Davadi, Shandel Green, Karim Kharbouch, Andre Christopher Lyon, Reminisce Mackie & Marcello Valenzano, songwriters (Fat Joe & Remy Ma Featuring French Montana & Infared)
“Famous” — Chancelor Bennett, Ross Birchard, Ernest Brown, Andrew Dawson, Kasseem Dean, Mike Dean, Noah Goldstein, Kejuan Muchita, Patrick Reynolds, Kanye West & Cydel Young, songwriters (Kanye West Featuring Rihanna)
“Hotline Bling” — Aubrey Graham & Paul Jefferies, songwriters (Drake)
“No Problem” — Chancelor Bennett, Dwayne Carter & Tauheed Epps, songwriters (Chance The Rapper Featuring Lil Wayne & 2 Chainz)
“Ultralight Beam” — Chancelor Bennett, Kasseem Dean, Mike Dean, Kirk Franklin, Noah Goldstein, Samuel Griesemer, Terius Nash, Jerome Potter, Kelly Price, Nico “Donnie Trumpet” Segal, Derek Watkins, Kanye West & Cydel Young, songwriters (Kanye West Featuring Chance The Rapper, Kelly Price, Kirk Franklin & The-Dream)

Best Rap Album:
Coloring Book — Chance The Rapper
And the Anonymous Nobody — De La Soul
Major Key — DJ Khaled
Views — Drake
Blank Face LP — ScHoolboy Q
The Life of Pablo — Kanye West

COUNTRY FIELD

Best Country Solo Performance:

“Love Can Go To Hell” — Brandy Clark
“Vice” — Miranda Lambert
“My Church” — Maren Morris
“Church Bells” — Carrie Underwood
“Blue Ain’t Your Color” — Keith Urban

Best Country Duo/Group Performance:

“Different for Girls” — Dierks Bentley Featuring Elle King
“21 Summer” — Brothers Osborne
“Setting The World On Fire” — Kenny Chesney & P!nk
“Jolene” — Pentatonix Featuring Dolly Parton
“Think Of You” — Chris Young With Cassadee Pope

Best Country Song:

“Blue Ain’t Your Color” — Clint Lagerberg, Hillary Lindsey & Steven Lee Olsen, songwriters (Keith Urban)
“Die A Happy Man” — Sean Douglas, Thomas Rhett & Joe Spargur, songwriters (Thomas Rhett)
“Humble and Kind” — Lori McKenna, songwriter (Tim McGraw)
“My Church” — busbee & Maren Morris, songwriters (Maren Morris)
“Vice” — Miranda Lambert, Shane McAnally & Josh Osborne, songwriters (Miranda Lambert)

Best Country Album:

Big Day In A Small Town — Brandy Clark
Full Circle — Loretta Lynn
Hero — Maren Morris
A Sailor’s Guide To Earth — Sturgill Simpson
Ripcord — Keith Urban

NEW AGE FIELD

Best New Age Album:

Orogen — John Burke
Dark Sky Island — Enya
Inner Passion — Peter Kater & Tina Guo
Rosetta — Vangelis
White Sun II — White Sun

JAZZ FIELD

Best Improvised Jazz Solo:

“Countdown” — Joey Alexander, soloist
“In Movement” — Ravi Coltrane, soloist
“We See” — Fred Hersch, soloist
“I Concentrate On You” — Brad Mehldau, soloist
“I’m So Lonesome I Could Cry” — John Scofield, soloist

Best Jazz Vocal Album:

Sound Of Red — René Marie
Upward Spiral — Branford Marsalis Quartet With Special Guest Kurt Elling
Take Me To The Alley — Gregory Porter
Harlem On My Mind — Catherine Russell
The Sting Variations — The Tierney Sutton Band

Best Jazz Instrumental Album:

Book of Intuition — Kenny Barron Trio
Dr. Um — Peter Erskine
Sunday Night At The Vanguard — The Fred Hersch Trio
Nearness — Joshua Redman & Brad Mehldau
Country For Old Men — John Scofield

Best Large Jazz Ensemble Album:

Real Enemies — Darcy James Argue’s Secret Society
Presents Monk’estra, Vol. 1 — John Beasley
Kaleidoscope Eyes: Music of the Beatles — John Daversa
All L.A. Band — Bob Mintzer
Presidential Suite: Eight Variations On Freedom — Ted Nash Big Band

Best Latin Jazz Album:

Entre Colegas — Andy González
Madera Latino: A Latin Jazz Perspective On The Music Of Woody Shaw — Brian Lynch & Various Artists
Canto América  — Michael Spiro/Wayne Wallace La Orquesta Sinfonietta
30 – Trio Da Paz
Tribute To Irakere: Live In Marciac — Chucho Valdés

GOSPEL/CONTEMPORARY CHRISTIAN MUSIC FIELD

Best Gospel Performance/Song:

“It’s Alright, It’s OK” — Shirley Caesar Featuring Anthony Hamilton; Stanley Brown & Courtney Rumble, songwriters
“You’re Bigger [Live]” — Jekalyn Carr; Allundria Carr, songwriter
“Made A Way [Live]” — Travis Greene; Travis Greene, songwriter
“God Provides” — Tamela Mann; Kirk Franklin, songwriter
“Better” — Hezekiah Walker; Jason Clayborn, Gabriel Hatcher & Hezekiah Walker, songwriters

Best Contemporary Christian Music Performance/Song:

“Trust In You” — Lauren Daigle; Lauren Daigle, Michael Farren & Paul Mabury, songwriters
“Priceless” — For King & Country; Benjamin Backus, Seth Mosley, Joel Smallbone, Luke Smallbone & Tedd Tjornhom, songwriters
“King of the World” — Natalie Grant; Natalie Grant, Becca Mizell & Samuel Mizell, songwriters
“Thy Will” — Hillary Scott & The Scott Family; Bernie Herms, Hillary Scott & Emily Weisband, songwriters Track from: Love Remains
“Chain Breaker” — Zach Williams; Mia Fieldes, Jonathan Smith & Zach Williams, songwriters

Best Gospel Album:

Listen —Tim Bowman Jr.
Fill This House — Shirley Caesar
A Worshipper’s Heart [Live] —Todd Dulaney
Losing My Religion — Kirk Franklin
Demonstrate [Live] —William Murphy

Best Contemporary Christian Music Album:

Poets & Saints — All Sons & Daughters
American Prodigal — Crowder
Be One — Natalie Grant
Youth Revival [Live] — Hillsong Young & Free
Love Remains — Hillary Scott & The Scott Family

Best Roots Gospel Album:

Better Together — Gaither Vocal Band
Nature’s Symphony In 432 — The Isaacs
Hymns — Joey+Rory
Hymns And Songs Of Inspiration — Gordon Mote
God Don’t Ever Change: The Songs Of Blind Willie Johnson — (Various Artists)

LATIN FIELD

Best Latin Pop Album:

Un Besito Mas — Jesse & Joy
Ilusión — Gaby Moreno
Similares — Laura Pausini
Seguir Latiendo — Sanalejo
Buena Vida — Diego Torres

Best Latin Rock, Urban or Alternative Album:

iLevitable — ile
L.H.O.N. (La Humanidad O Nosotros) — Illya Kuryaki & The Valderamas
Buenaventura — La Santa Cecilia
Los Rakas — Los Rakas
Amor Supremo — Carla Morrison

Best Regional Mexican Music Album (Including Tejano):

Raíces — Banda El Recodo De Cruz Lizárraga
Hecho A Mano — Joss Favela
Un Azteca En El Azteca, Vol. 1 (En Vivo) — Vicente Fernández
Generación Maquinaria Est. 2006  — La Maquinaria Norteña
Tributo A Joan Sebastian Y Rigoberto Alfaro — Mariachi Divas De Cindy Shea

Best Tropical Latin Album:

Conexión — Fonseca
La Fantasia Homenaje A Juan Formell — Formell Y Los Van Van
35 Aniversario — Grupo Niche
La Sonora Santanera En Su 60 Aniversario — La Sonora Santanera
Donde Están? — Jose Lugo & Guasábara Combo

AMERICAN ROOTS MUSIC FIELD

Best American Roots Performance:

“Ain’t No Man” — The Avett Brothers
“Mother’s Children Have A Hard Time” — Blind Boys Of Alabama
“Factory Girl” — Rhiannon Giddens
“House Of Mercy” — Sarah Jarosz
“Wreck You” — Lori McKenna

Best American Roots Song:

“Alabama At Night” — Robbie Fulks, songwriter (Robbie Fulks)
“City Lights” — Jack White, songwriter (Jack White)
“Gulfstream” — Eric Adcock & Roddie Romero, songwriters (Roddie Romero And The Hub City All-Stars)
“Kid Sister” — Vince Gill, songwriter (The Time Jumpers)
“Wreck You” — Lori McKenna & Felix McTeigue, songwriters (Lori McKenna)

Best Americana Album:

True Sadness — The Avett Brothers
This Is Where I Live — William Bell
The Cedar Creek Sessions — Kris Kristofferson
The Bird & The Rifle — Lori McKenna
Kid Sister — The Time Jumpers

Best Bluegrass Album:

Original Traditional — Blue Highway
Burden Bearer — Doyle Lawson & Quicksilver
The Hazel Sessions — Laurie Lewis & The Right Hands
North And South — Claire Lynch
Coming Home — O’Connor Band With Mark O’Connor

Best Traditional Blues Album:

Can’t Shake The Feeling — Lurrie Bell
Live At The Greek Theatre — Joe Bonamassa
Blues & Ballads (A Folksinger’s Songbook: Volumes I & II) — Luther Dickinson
The Soul of Jimmie Rodgers — Vasti Jackson
Porcupine Meat — Bobby Rush

Best Contemporary Blues Album:

The Last Days Of Oakland — Fantastic Negrito
Love Wins Again — Janiva Magness
Bloodline — Kenny Neal
Give It Back To You — The Record Company
Everybody Wants A Piece — Joe Louis Walker

Best Folk Album:

Silver Skies Blue — Judy Collins & Ari Hest
Upland Stories — Robbie Fulks
Factory Girl — Rhiannon Giddens
Weighted Mind — Sierra Hull
Undercurrent — Sarah Jarosz

Best Regional Roots Music Album:

Broken Promised Land — Barry Jean Ancelet & Sam Broussard
It’s A Cree Thing — Northern Cree
E Walea — Kalani Pe’a
Gulfstream — Roddie Romero And The Hub City All-Stars
I Wanna Sing Right: Rediscovering Lomax In The Evangeline Country — (Various Artists)

REGGAE FIELD

Best Reggae Album:

Sly & Robbie Presents… Reggae For Her – Devin Di Dakta & J.L
Rose Petals — J Boog
Ziggy Marley — Ziggy Marley
Everlasting — Raging Fyah
Falling Into Place — Rebelution
Soja: Live In Virginia — Soja

WORLD MUSIC FIELD

Best World Music Album:

Destiny — Celtic Woman
Walking In The Footsteps Of Our Fathers — Ladysmith Black Mambazo
Sing Me Home — Yo-Yo Ma & The Silk Road Ensemble
Land Of Gold — Anoushka Shankar
Dois Amigos, Um Século De Música: Multishow Live — Caetano Veloso & Gilberto Gil

CHILDREN’S FIELD

Best Children’s Album:

Explorer Of The World — Frances England
Infinity Plus One — Secret Agent 23 Skidoo
Novelties — Recess Monkey
Press Play — Brady Rymer And The Little Band That Could
Saddle Up — The Okee Dokee Brothers

SPOKEN WORD FIELD

Best Spoken Word Album (Includes Poetry, Audio Books & Storytelling):

The Girl With The Lower Back Tattoo — Amy Schumer
In Such Good Company: Eleven Years Of Laughter, Mayhem, And Fun In The Sandbox — Carol Burnett
M Train — Patti Smith
Under The Big Black Sun: A Personal History Of L.A.Punk (John Doe With Tom DeSavia)— (Various Artists)
Unfaithful Music & Disappearing Ink — Elvis Costello

COMEDY FIELD

Best Comedy Album:

…America…Great… — David Cross
American Myth — Margaret Cho
Boysih Girl Interrupted — Tig Notaro
Live At The Apollo — Amy Schumer
Talking For Clapping — Patton Oswalt

MUSICAL THEATER

Best Musical Theater Album:

Bright Star — Carmen Cusack, principal soloist; Jay Alix, Peter Asher & Una Jackman, producers; Steve Martin, composer; Edie Brickell, composer & lyricist (Original Broadway Cast)
The Color Purple — Cynthia Erivo & Jennifer Hudson, principal soloists; Stephen Bray, Van Dean, Frank Filipetti, Roy Furman, Scott Sanders & Jhett Tolentino, producers (Stephen Bray, Brenda Russell & Allee Willis, composers/lyricists) (New Broadway Cast)
Fiddler On The Roof — Danny Burstein, principal soloist; Louise Gund, David Lai & Ted Sperling, producers (Jerry Bock, composer; Sheldon Harnick, lyricist) (2016 Broadway Cast)
Kinky Boots — Killian Donnelly & Matt Henry, principal soloists; Sammy James, Jr., Cyndi Lauper, Stephen Oremus & William Wittman, producers (Cyndi Lauper, composer & lyricist) (Original West End Cast)
Waitress — Jessie Mueller, principal soloist; Neal Avron, Sara Bareilles & Nadia DiGiallonardo, producers; Sara Bareilles, composer & lyricist (Original Broadway Cast)

MUSIC FOR VISUAL MEDIA FIELD

Best Compilation Soundtrack For Visual Media:

Amy — (Various Artists)
Miles Ahead — Miles Davis & Various Artists)
Straight Outta Compton — (Various Artists)
Suicide Squad (Collector’s Edition) — (Various Artists)
Vinyl: The Essentials Season 1 — (Various Artists)

Best Score Soundtrack For Visual Media:

Bridge of Spies — Thomas Newman, composer
Quentin Tarantino’s The Hateful Eight — Ennio Morricone, composer
The Revenant — Alva Noto & Ryuichi Sakamoto, composers
Star Wars: The Force Awakens — John Williams, composer
Stranger Things Volume 1 — Kyle Dixon & Michael Stein, composers
Stranger Things Volume 2 — Kyle Dixon & Michael Stein, composers

Best Song Written For Visual Media:

“Can’t Stop The Feeling!” — Max Martin, Shellback & Justin Timberlake, songwriters (Justin Timberlake, Anna Kendrick, Gwen Stefani, James Corden, Zooey Deschanel, Walt Dohrn, Ron Funches, Caroline Hjelt, Aino Jawo, Christopher Mintz-Plasse & Kunal Nayyar), Track from: Trolls
“Heathens” — Tyler Joseph, songwriter (Twenty One Pilots), Track from: Suicide Squad
“Just Like Fire” — Oscar Holter, Max Martin, P!nk & Shellback, songwriters (P!nk), Track from: Alice Through The Looking Glass
“Purple Lamborghini” — Shamann Cooke, Sonny Moore & William Roberts, songwriters (Skrillex & Rick Ross), Track from: Suicide Squad
“Try Everything” — Mikkel S. Eriksen, Sia Furler & Tor Erik Hermansen, songwriters (Shakira), Track from: Zootopia
“The Veil” — Peter Gabriel, songwriter (Peter Gabriel), Track from: Snowden

COMPOSING/ARRANGING FIELD

Best Instrumental Composition:

“Bridge of Spies (End Title)” — Thomas Newman, composer (Thomas Newman)
“The Expensive Train Set (An Epic Sarahnade For Big Band)” — Tim Davies, composer (Tim Davies Big Band)
“Flow” — Alan Ferber, composer (Alan Ferber Nonet)
“L’Ultima Diligenza Di Red Rock – Verisione Integrale” — Ennio Morricone, composer (Ennio Morricone)
“Spoken At Midnight” — Ted Nash, composer (Ted Nash Big Band)

Best Arrangement, Instrumental or A Cappella:

“Ask Me Now” — John Beasley, arranger (John Beasley)
“Good ‘Swing’ Wenceslas” — Sammy Nestico, arranger (The Count Basie Orchestra)
“Linus & Lucy” — Christian Jacob, arranger (The Phil Norman Tentet)
“Lucy In The Sky With Diamonds” — John Daversa, arranger (John Daversa)
“We Three Kings” — Ted Nash, arranger (Jazz At Lincoln Center Orchestra With Wynton Marsalis)
“You And I” — Jacob Collier, arranger (Jacob Collier)

Best Arrangement, Instruments and Vocals:

“Do You Hear What I Hear?” — Gordon Goodwin, arranger (Gordon Goodwin’s Big Phat Band Featuring Take 6)
“Do You Want To Know A Secret” — John Daversa, arranger (John Daversa Featuring Renee Olstead)
“Flintstones” — Jacob Collier, arranger (Jacob Collier)
“I’m A Fool To Want You” — Alan Broadbent, arranger (Kristin Chenoweth)
“Somewhere (Dirty Blvd) (Extended Version)” — Billy Childs & Larry Klein, arrangers (Lang Lang Featuring Lisa Fischer & Jeffrey Wright)

PACKAGE FIELD

Best Recording Package:

Anti (Deluxe Edition) — Ciarra Pardo & Robyn Fenty, art directors (Rihanna)
Blackstar — Jonathan Barnbrook, art director (David Bowie)
Human Performance — Andrew Savage, art director (Parquet Courts)
Sunset Motel — Sarah Dodds & Shauna Dodds, art directors (Reckless Kelly)
22, A Million — Eric Timothy Carlson, art director (Bon Iver)

Best Boxed Or Special Limited Edition Package:

Edith Piaf 1915-2015 — Gérard Lo Monaco, art director (Edith Piaf)
401 Days — Jonathan Dagan & Mathias Høst Normark, art directors (J.Views)
I Like It When You Sleep, For You Are So Beautiful Yet So Unaware Of It — Samuel Burgess-Johnson & Matthew Healy, art directors (The 1975)
Paper Wheels (Deluxe Limited Edition) — Matt Taylor, art director (Trey Anastasio)
Tug of War (Deluxe Edition) — Simon Earith & James Musgrave, art directors (Paul McCartney)

NOTES FIELD

Best Album Notes:

The Complete Monument & Columbia Albums Collection — Mikal Gilmore, album notes writer (Kris Kristofferson)
The Knoxville Sessions, 1929-1930: Knox County Stomp — Ted Olson & Tony Russell, album notes writers (Various Artists)
Ork Records: New York, New York — Rob Sevier & Ken Shipley, album notes writers (Various Artists)
Sissle And Blake Sing Shuffle Along — Ken Bloom & Richard Carlin, album notes writers (Eubie Blake & Noble Sissle)
Waxing The Gospel: Mass Evangelism & The Phonograph, 1890-1990 — Richard Martin, album notes writer (Various Artists)

HISTORICAL FIELD

Best Historical Album:

The Cutting Edge 1965-1966: The Bootleg Series, Vol. 12 (Collector’s Edition) — Steve Berkowitz & Jeff Rosen, compilation producers; Mark Wilder, mastering engineer (Bob Dylan)
Music Of Morocco From The Library Of Congress: Recorded By Paul Bowles, 1959 — April G. Ledbetter, Steven Lance Ledbetter, Bill Nowlin & Philip D. Schuyler, compilation producers; Rick Fisher & Michael Graves, mastering engineers (Various Artists)
Ork Records: New York, New York — Rob Sevier & Ken Shipley, compilation producers; Jeff Lipton & Maria Rice, mastering engineers (Various Artists)
Vladimir Horowitz: The Unreleased Live Recordings 1966-1983 — Bernard Horowitz, Andreas K. Meyer & Robert Russ, compilation producers; Andreas K. Meyer & Jeanne Montalvo, mastering engineers (Vladimir Horowitz)
Waxing The Gospel: Mass Evangelism & The Phonograph, 1890 – 1900 — Michael Devecka, Meagan Hennessey & Richard Martin, compilation producers; Michael Devecka, David Giovannoni, Michael Khanchalian & Richard Martin, mastering engineers (Various Artists)

PRODUCTION, NON-CLASSICAL FIELD

Best Engineered Album, Non-Classical:

Are You Serious — Tchad Blake & David Boucher, engineers; Bob Ludwig, mastering engineer (Andrew Bird)
Blackstar — David Bowie, Tom Elmhirst, Kevin Killen & Tony
Dig In Deep — Ryan Freeland, engineer; Kim Rosen, mastering engineer (Bonnie Raitt)
Hit N Run Phase Two — Booker T., Dylan Dresdow, Chris James, Prince & Justin Stanley, engineers; Dylan Dresdow, mastering engineer (Prince)
Undercurrent — Shani Gandhi & Gary Paczosa, engineers; Paul Blakemore, mastering engineer (Sarah Jarosz)

Producer Of The YearNon-Classical:

Benny Blanco
Greg Kurstin
Max Martin
Nineteen85
Ricky Reed

Best Remixed Recording:

“Cali Coast (Psionics Remix)” — Josh Williams, remixer (Soul Pacific)
“Heavy Star Movin’ (staRo Remix)” — staRo, remixer (The Silver Lake Chorus)
“Nineteen Hundred Eighty-Five (Timo Maas & James Teej Remix)” — Timo Maas & James Teej, remixers (Paul McCartney & Wings)
“Only” (Kaskade X Lipless Remix)— Ryan Raddon, remixer (Ry X)
“Tearing Me Up (RAC Remix)” — André Allen Anjos, remixer (Bob Moses)
“Wide Open (Joe Goddard Remix)” — Joe Goddard, remixer (The Chemical Brothers)

SURROUND SOUND FIELD

Best Surround Sound Album:

Dutilleux: Sur La Mêe Accord; Les Citations; Mystère De L’Instant & Timbres, Espace, Mouvement — Alexander Lipay & Dmitriy Lipay, surround mix engineers; Dmitriy Lipay, surround mastering engineer; Dmitriy Lipay, surround producer (Ludovic Morlot & Seattle Symphony)
Johnson: Considering Matthew Shephard — Brad Michel, surround mix engineer; Brad Michel, surround mastering engineer; Robina G. Young, surround producer (Craig Hella Johnson & Conspirare)
Maja S.K. Ratkje: And Sing … — Morten Lindberg, surround mix engineer; Morten Lindberg, surround mastering engineer; Morten Lindberg, surround producer (Maja S.K. Ratkje, Cikada & Oslo Sinfonietta)
Primus & The Chocolate Factory — Les Claypool, surround mix engineer; Stephen Marcussen, surround mastering engineer; Les Claypool, surround producer (Primus)
Reflections — Morten Lindberg, surround mix engineer; Morten Lindberg, surround mastering engineer; Morten Lindberg, surround producer (Øyvind Gimse, Geir Inge Lotsberg & Trondheimsolistene)

PRODUCTION, CLASSICAL FIELD

Best Engineered Album, Classical:

Corigliano: The Ghosts Of Versailles — Mark Donahue & Fred Vogler, engineers (James Conlon, Guanqun Yu, Joshua Guerrero, Patricia Racette, Christopher Maltman, Lucy Schaufer, Lucas Meachem, LA Opera Chorus & Orchestra)
Dutilleux: Sur La Mêe Accord; Les Citations; Mystère De L’Instant & Timbres, Espace, Mouvement — Alexander Lipay & Dmitriy Lipay, engineers (Ludovic Morlot & Seattle Symphony)
Reflections — Morten Lindberg, engineer (Øyvind Gimse, Geir Inge Lotsberg & Trondheimsolistene)
Shadow of Sirius — Silas Brown & David Frost, engineers; Silas Brown,
Shostakovich: Under Stalin’s Shadow – Symphonies Nos. 5, 8 & 9 — Shawn Murphy & Nick Squire, engineers; Tim Martyn, mastering engineer (Andris Nelsons & Boston Symphony Orchestra)

Producer of the Year, Classical:

Blanton Alspaugh
David Frost
Marina A. Ledin, Victor Ledin
Judith Sherman
Robina G. Young

CLASSICAL FIELD

Best Orchestral Field:

Bates: Works For Orchestra — Michael Tilson Thomas, conductor (San Francisco Symphony)
Ibert: Orchestral Works — Neeme Järvi, conductor (Orchestre De La Suisse Romande)
Prokofiev: Symphony No. 5 In B-Flat Major, Op. 100 — Mariss Jansons, conductor (Royal Concertgebouw Orchestra)
Rouse: Odna Zhizn; Symphonies 3 & 4; Prospero’s Rooms — Alan Gilbert, conductor (New York Philharmonic)
Shostakovich: Under Stalin’s Shadow – Symphonies Nos. 5, 8 & 9 — Andris Nelsons, conductor (Boston Symphony Orchestra)

Best Opera Recording:

Corigliano: The Ghosts Of Versailles — James Conlon, conductor; Joshua Guerrero, Christopher Maltman, Lucas Meachem, Patricia Racette, Lucy Schaufer & Guanqun Yu; Blanton Alspaugh, producer (LA Opera Orchestra; LA Opera Chorus)
Handel: Giulio Cesare — Giovanni Antonini, conductor; Cecilia Bartoli, Philippe Jaroussky, Andreas Scholl & Anne-Sofie von Otter; Samuel Theis, producer (Il Giardino Armonico)
Higdon: Cold Mountain — Miguel Harth-Bedoya, conductor; Emily Fons, Nathan Gunn, Isabel Leonard & Jay Hunter Morris; Elizabeth Ostrow, producer (The Santa Fe Opera Orchestra; Santa Fe Opera Apprentice Program For Singers) Mozart: Le Nozze De Figaro — Yannick Nézet-Séguin, conductor; Thomas Hampson, Christiane Karg, Luca Pisaroni & Sonya Yoncheva; Daniel Zalay, producer (Chamber Orchestra Of Europe; Vocalensemble Rastatt)
Szymanowski: Król Roger — Antonio Pappano, conductor; Georgia Jarman, Mariusz Kwiecień & Saimir Pirgu; Jonathan Allen, producer (Orchestra Of The Royal Opera House; Royal Opera Chorus)

Best Choral Performance:

Himmerland — Elisabeth Holte, conductor (Marianne Reidarsdatter Eriksen, Ragnfrid Lie & Matilda Sterby; Inger-Lise Ulsrud; Uranienborg Vokalensemble)
Janáček: Glagolitic Mass — Edward Gardner, conductor; Håkon Matti Skrede, chorus master (Susan Bickley, Gábor Bretz, Sara Jakubiak & Stuart Skelton; Thomas Trotter; Bergen Philharmonic Orchestra; Bergen Cathedral Choir, Bergen Philharmonic Choir, Choir Of Collegium Musicum & Edvard Grieg Kor)
Lloyd: Bonhoeffer — Donald Nally, conductor (Malavika Godbole, John Grecia, Rebecca Harris & Thomas Mesa; The Crossing)
Penderecki Conducts Penderecki, Volume 1 — Krzystof Penderecki, conductor; Henryk Wojnarowski, choir director (Nikolay Didenko, Agnieszka Rehlis & Johanna Rusanen; Warsaw Philharmonic Orchestra; Warsaw Philharmonic Choir)
Steinberg: Passion Week — Steven Fox, conductor (The Clarion Choir)

Best Chamber Music/Small Ensemble Performance:

Fitelberg: Chamber Works — ARC Ensemble
Reflections — Øyvind Gimse, Geir Inge Lotsberg & Trondheimsolistene
Serious Business — Spektral Quartet
Steve Reich — Third Coast Percussion
Trios From Our Homelands — Lincoln Trio

Best Classical Instrumental Solo:

Adams, J.: Scheherazade.2 — Leila Josefowicz; David Robertson, conductor (Chester Englander; St. Louis Symphony)
Daugherty: Tales Of Hemingway — Zuill Bailey; Giancarlo Guerrero, conductor (Nashville Symphony)
Dvorák: Violin Concerto & Romance; Suk: Fantasy  —Christian Tetzlaff; John Storgårds, conductor (Helsinki Philharmonic Orchestra)
Mozart: Keyboard Music, Vols. 8 & 9 — Kristian Bezuidenhout
1930’s Violin Concertos, Vol. 2 — Gil Shaham; Stéphane Denève, conductor (The Knights & Stuttgart Radio Symphony Orchestra)

Best Classical Solo Vocal Album:

Monteverdi — Magdalena Kožená; Andrea Marcon, conductor (David Feldman, Michael Feyfar, Jakob Pilgram & Luca Tittoto; La Cetra Barockorchester Basel)
Mozart: The Weber Sisters — Sabine Devieilhe; Raphaël Pichon, conductor (Pygmalion)
Schumann & Berg — Dorothea Röschmann; Mitsuko Uchida, accompanist
Shakespeare Songs — Ian Bostridge; Antonio Pappano, accompanist (Michael Collins, Elizabeth Kenny, Lawrence Power & Adam Walker)
Verismo — Anna Netrebko; Antonio Pappano, conductor (Yusif Eyvazov; Coro Dell’Accademia Nazionale Di Santa Cecilia; Orchestra Dell’Accademia Nazionale Di Santa Cecilia)

Best Classical Compendium:
Daugherty: Tales Of Hemingway; American Gothic; Once Upon A Castle — Giancarlo Guerrero, conductor; Tim Handley, producer
Gesualdo — Tõnu Kaljuste, conductor; Manfred Eicher, producer
Vaughan Williams: Discoveries — Martyn Brabbins, conductor; Andrew Walton, producer
Wolfgang: Passing Through — Judith Farmer & Gernot Wolfgang, producers
Zappa: 200 Motels — The Suites — Esa-Pekka Salonen, conductor; Frank Filipetti & Gail Zappa, producers

Best Contemporary Classical Composition:

Bates: Anthology Of Fantastic Zoology — Mason Bates, composer (Riccardo Muti & Chicago Symphony Orchestra)
Daugherty: Tales Of Hemingway — Michael Daugherty, composer (Zuill Bailey, Giancarlo Guerrero & Nashville Symphony)
Higdon: Cold Mountain — Jennifer Higdon, composer; Gene Scheer, librettist
Theofanidis: Bassoon Concerto — Christopher Theofanidis, composer (Martin Kuuskmann, Barry Jekowsky & Northwest Sinfonia)
Winger: Conversations With Nijinsky — C. F. Kip Winger, composer (Martin West & San Francisco Ballet Orchestra)

MUSIC VIDEO/FILM FIELD

Best Music Video:

“Formation” — Beyoncé
“River” — Leon Bridges
“Up & Up” — Coldplay
“Gosh” — Jamie XX
“Upside Down & Inside Out” — OK Go

Best Music Film:

I’ll Sleep When I’m Dead — Steve Aoki
The Beatles: Eight Days A Week The Touring Years — (The Beatles)
Lemonade — Beyoncé
The Music Of Strangers — Yo-Yo Ma & The Silk Road Ensemble
American Saturday Night: Live From The Grand Ole Opry — (Various Artists) HustleTV 

2017 Grammys

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Austin Millz Premieres ‘Cyclone’ Feat. Tunji Ige, Signs to Fool’s Gold Records

By | Music, News | No Comments

HustleTV Music News Harlem producer Austin Millz unleashes his new single “Cyclone,” the title track off his forthcoming EP. The flex-ready dance number features Philadelphia by way of Nigeria rapper Tungi Ige and follows his previous release ” Limelite.”

“I knew I wanted an artist that could compliment the energy ‘Cyclone’ has,” Millz tells Billboard over e-mail. “Tunji did just that, and he took it to the next level. His cadences on the track fit right into the pockets of the beat. He was a great collaborator too because he’s not tied to one specific genre of music or a specific sound, similar to myself. It’s a mash-up of both of our styles together, 2 artists on one track doing whatever sound we feel like doing is great creatively.”

“Cyclone” also arrives with major news for Millz, who recently inked a deal with A-Trak’s independent label Fool’s Gold Records. “Fool’s Gold has always been a footprint in NYC culture and I’ve always been a fan of the work they’ve been doing,” he says of the Brooklyn-based roster. “I was working on my project, building up my name and brand, traveling to different countries doing tours, parties, playing fashion shows and etc. So when I got back to focus back on my music, I wanted to blend everything that I’ve been conceptualizing and bring it all together.” HustleTV

A-Trak

READ MORE

A-Trak on Remixes, Dance and Hip Hop’s Differences & the Blog Era’s End

He also notes his admiration for the Fool’s Gold boss. “I was able to create the music that I finally wanted to create and I figured who better to send the music to then someone I’ve always looked up to which is A-Trak. It was a shot in the dark by sending him an email too but sure enough he responded. He hit me back to saying that he loved the music and loved what I was doing and he is down to work with me. I didn’t know it was going to lead to me getting signed to Fool’s Gold. I mean what’s better than sending tracks to one of your favorite DJs/producers and them enjoying it so much they sign you to their label. It’s a great testament to what I’ve been doing.”

Since pushing out his instrumental-filled debut Earned in 2012, Millz’s genre-bending production has landed credits for acts like Jim Jones, Maybach Music Group, G.O.O.D. Music and Wale. He also regularly provides the soundtrack for parties in his native Harlem to cities across the country.

For his upcoming project, Millz plans to match his sound to the Cyclone title. “Cyclones move in different ways, very strong and energetic. It can take you here from one side of wherever you’re at to the total opposite side in one second. That’s where my music is taking you,” he explains. “It 100 percent correlates with the vision. Not sticking to one genre, as when I play I do different types of crowds, play different types of music and I wanted to take what I learned playing for different crowds and push the boundaries. To show people I’m not confined to just one type of music, genre or sound. I can go from dance to house to electronic to rap and blend it all perfectly.”

Cyclone is slated for a February 2017 release. Get caught up in Austin Millz’ “Cyclone” featuring Tungi Ige below: HustleTV

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Def Jam to Release ‘Direct Deposit, Vol. 1’ Compilation, Welcomes New Signee Amir Obe

By | Music, News, Video | No Comments

HustleTV Music News Def Jam Records will be rolling out a star-studded compilation album called Direct Deposit Vol. 1. The 10-track set hosts hits from esteemed veteran rappers like 2 Chainz (“Big Amount” featuring Drake), Pusha T (“Circles”) and YG (“I Wanna Benz”) as well as buzzy newcomers Desiigner (“Tiimmy Turner Remix”), Dave East (“Stove Top”) and latest signee Amir Obe (“No Peace”).

The rapper — who reps both his native Detroit and second home Brooklyn — delivered Internet favorites like his 2015 EP Happening in the Grey Area and this year’s Love in the Hills EP (standouts from the projects included “Before The Vomit” and the Partynextdoor-assisted “Truth For You”). He also notched a collaboration with Drake on the Toronto MC’s “Star67,” off 2015’s If You’re Reading This It’s Too Late. HustleTV

“I’m honored to be part of the Def Jam family,” he tells Billboard over e-mail. “To contribute to a legacy & brand that has created history with some of my favorite artists is a blessing. Def Jam prides itself on authenticity & I couldn’t have found a better home.”

Amir Obe

READ MORE

Rapper Amir Obe Talks Drake Collaboration & ‘Happening In The Grey Area’ EP

To celebrate his signing, Obe also dropped off the semi-animated visual for his moody number “No Peace.”

“I wanted to capture the vibe of “No Peace” visually, and I think we executed providing a journey, a sense of no looking back,” he adds. “We kept it minimal to allow you, the viewer to create your own narrative.”

He will also be streaming the video on his website www.amirobemusic.com, and gifting exclusive t-shirts to fans who sign up to the mailing list. HustleTV

Peep the tracklist for Direct Deposit, Vol. 1 (due Dec. 2) and Amir Obe’s “No Peace” video below.

1.       2 Chainz ft. Drake “Big Amount”
2.       Pusha T “Circles”
3.       YG “One Time Comin”
4.       Desiigner “Tiimmy Turner Remix”
5.       Lajan Slim “Haitians”
6.       Dave East “Stove Top”
7.       YG “I Wanna Benz”
8.       Amir Obe “No Peace”
9.       Trap Beckham “Going Down”
10.     070 Shake “Trust Nobody”

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RZA Delves Deep Into His New 36 Chambers Clothing Line

By | Life Style, Music, News | No Comments

HustleTV Fashion News  We meet RZA in unusual circumstances, in the bottom of an East London bar to be specific. The producer/rapper/actor just completed a show for his latest musical project Banks & Steelz, a collaboration with Interpol’s Paul Banks. After a successful show the afterparty/presentation is in a cordoned off part of a bar that’s still open to the public, leading to odd sights such as Clive Owen turning up and hanging around. Owen and RZA are friends, having presumably met while working on 2005 film Derailed. After people start to realize that, yes, that is Clive Owen and, yes, he’s randomly in a downtrodden bar on a Friday night, he swiftly makes his exit before RZA arrives.

The Influences of 36 Chambers

A Wu-Wear advert

RZA graces our presence to celebrate the launch of his latest range, 36 Chambers. Mustafa Shaikh, the co-founder of the range was instrumental in bringing the collection to reality. Mathematics is constantly referenced as an influence on the brand, so we asked Shaikh exactly how you bring that into a clothing range. “Mathematics is one of the founding principles of Wu-Tang Clan, That’s how they brought it in.” He says. “So that’s where you see Eastern Philosophy, Eastern Art, mathematics. These different things tie in.” RZA interjects when we ask how art has influenced the brand.

“It’s much things from art that inspire us because art is expressed through music, expressed through poetry, expressed through calligraphy and we are able to find that balance and, also, art is expressed through design.” He says. “So you’ll notice that the cut of our material, the design of our zippers, the embroidery on the back of our product [even] down to the nametag all are artistic expressions.”

What Makes 36 Chambers Different from Wu-Wear?

RZA Wu-Tang Clan Portrait 2016

A Wu-Wear magazine advertisement

When the news broke of a RZA-led clothing line, we only had one question: Is Wu-Wear making a comeback? Shaikh notes that the main difference between this and RZA’s older ventures is one of subtlety. “In this line we didn’t want to over-utilize the W, we instead wanted to work on principles that Wu-Tang was founded upon.” So, for Shaikh, this meant getting in touch with the founding characteristics of the Wu-Tang Clan rather than stamping the W over some substandard products.

RZA elaborates, saying that “some of the older brands have my influence on a macro level, and I would think 36 Chambers has more of my attention on a micro level.” In a 2011 interview, Oliver “Power” Grant said when asked about the Clan’s involvement with the design said “That was all me,” going on to say that there’s was no involvement on the design side from any members of Wu-Tang Clan.

Judging from RZA’s comments, things are different this time. He sings the praises of his brand partner Shaikh, noting how “the cool thing about this brand is that there’s certain things that I know and certain things that he’s learning. And when he learns it, he adds his spin on it. That’s kinda cool when you have an OG and a YG and they’re finding their ways to express both sides of the spectrum.”

For Shaikh, being on one side of the spectrum meant taking inspiration from RZA. “It’d be something as basic as Bobby would tell me to read this book. We went to the Asian art museum in San Francisco together about a month ago and Bobby said, ‘Hey go read the Heart Sutra, I think that will help us in the future.’”

“You may find me in Chanel, you may find me in Hermes, yesterday I had on a Prada. But if you would have saw me some years ago I would’ve had on Marc Ecko!”

How RZA’s Style Has Changed

Despite the clamoring for a Wu-Wear return, it goes without saying that the fashion landscape has changed just a little since its heyday. So how has RZA changed his dress sense over the years? “I think my clothing tastes has evolved,” he says. “When you’re young you have a more rebellious personality and then, as you live and you learn, you actually learn when to rebel and you choose your rebellion differently. There’s some moments where I need a hoodie, a pair of Timberlands, and a pair of rugged jeans – that’s when it’s cold in New York City. But then there’s places I’ve been to where a nice blazer, or a nice velour suit jacket matches my occasion. And our brand aims to touch upon the different parts of evolution that a man will go through.”

Outside of 36 Chambers, RZA is now into the high-end labels you’d expect for a man who counts Russell Crowe and Clive Owen as friends. “You may find me in Chanel, you may find me in Hermes, if you check my clothes right now I have on an Ermenegildo Zegna suit, na’mean. Yesterday I had on a Prada. But if you would have saw me some years ago I would’ve had on Marc Ecko (laughs), I’ll go back to Karl Kani, Timberland and you may see me with Carhartt.” HustleTV

RZA’s Musical Endeavors

RZA Wu-Tang Clan Portrait 2016

It shouldn’t be surprising that someone who’s sampled everyone from Ann Peebles to Hall & Oates has open ear when it comes to music, but even so the collaboration with Interpol’s Paul Banks, creating Banks & Steelz, was something of a surprise. We asked RZA if he saw any barriers between genres musically. “I think a barrier is something people place upon themselves,” he says. “So Banks and Steelz represents an American image that we’ve been working on for years, which is two guys combining from two different backgrounds, two different races and making music that inspires everybody.”

In addition to Banks and Steelz, RZA recently did a live score for 1978′s The 36th Chamber of Shaolin. Of that, RZA said “My live scores are very cool. We’re looking to do it many more times and my ultimate goal is to potentially do a live score in America at the Carnegie Hall and then maybe we do a live score of the movie at Prince Albert Hall in London.” HustleTV

RZA’s Favorite Martial Arts Films of the Last Decade

RZA Wu-Tang Clan Portrait 2016

You can’t talk to RZA without asking his opinion on martial arts films, after all he is known as the only man to have out trivia’d Quentin Tarantino when it comes to knowledge of the genre. A noted fan of the genre’s ‘70s output, as evidenced through the sampling in his music, what does he think of martial arts released over the last ten years? “The martial arts films have taken many turns in their production and ideas and what they want to talk about,” he says. “But the one that stands out the most is probably The RaidThe Raid 1 and 2, both of those movies are very unique. The martial art they’re using is called Silat and the funny thing is that Silat is also a Muslim prayer, but the Indonesians have made a martial art out of it, it’s very cool.”

“But the one that stands out the most is probably The Raid 1 and 2, both of those movies are very unique. The martial art they’re using is called Silat and the funny thing is that Silat is also a Muslim prayer, but the Indonesians have made a martial art out of it.”

The Raid aside, RZA is also a fan of director Prachya Pinkaew’s work. “[Then there’s] the Ong Bak series with Tony Jaa and Chocolat, those movies are also very cool and very unique.” The two worked together on The Protector 2.

Plans for the Future

When we asked RZA about his plans for the future, he turned philosophical. “My plans for the future is, by the grace of Allah, to continue to show my art, my learnings, and wisdom as a man on this planet. Every man is on this planet right? And some men are very observant on this planet. I’m one of those men. And may my goal and my strive and my strife be an example for other men to have a better life and a better tomorrow.” HustleTV

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Tove Lo Can’t Escape Perilous Desires in ‘True Disaster’ Video

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HustleTV Music News You know those desires that are nothing but trouble? Tove Lo certainly does, and she brings those temptations to life in her new video for “True Disaster.”

The Swedish singer begins her video — a clip from the Lemonade-esque “Fairy Dust” video supplement to second Tove LP Lady Wood — getting out of a car that an ominous person douses in gasoline. As she walks further and further away from the seemingly dangerous person, Tove Lo is clearly struggling to fight whatever urges she’s feeling. And with the track’s perilous lyrics like “I’m gonna get hurt,” the video becomes even more sinister than its visual displays.

Tove Lo photographed Sept. 27 at Loosie Rouge in Brooklyn.

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Tove Lo Doesn’t Understand Women Who Don’t Identify As Feminists

Watch Tove Lo’s dramatic battle in “True Disaster” below. HustleTV

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Annie Mac’s Lost & Found Festival Announces 2017 Lineup

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HustleTV Annie Mac’s Lost & Found Festival is heading back to the paradise of Malta in 2017.

The third annual event will take place from April 13-16 (Sunday) and boasts a whole lot of talent — including respected names like Armand van Heldon, Jamie Jones, J.E.S.u.S, The Black Madonna and more. Plus Mac’s performance there will mark her first of the year, as well as her first in six months.

You can purchase tickets for the four-day event starting Nov. 11 at 9 a.m. here. Access to boat parties and castle raves (yes, you read that correctly) can be purchased separately.

Ida Engberg performs during the 2013 Wavefront Music Festival at Montrose Beach on July 5, 2013 in Chicago.

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25 Female DJs You Need to Know Now

View the full lineup below:  HustleTV

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1800 Tequila And HustleTV Presents ‘Hip-Hop Through The Lens of Photography’ During Art Basel 2016

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Art Basel 2016 will take over the city of Miami Beach, Fla., from Dec. 1 through Dec. 4, bringing local galleries and artists to art enthusiasts for the highly anticipated art fair. Amid the festivities, 1800 Tequila and Billboard will team up to present Hip Hop Through the Lens of Photography, a first ever collaborative exhibit from photographers Cam Kirk, Gunner Stahl, Places + Faces.

Cam Kirk, Gunner Stahl, Places + Faces’s exhibits features photos of hip-hop’s most recognizable faces including Gucci ManeFutureYoung ThugMac Miller and many more. DJ Brittany Sky and DJ Ohso will also provide the soundtrack for the night leading up to a special performance by “Black Beatles” hitmakers Rae Sremmurd.

Kendrick Lamar performs during the 2016 Austin City Limits Music Festival at Zilker Park on Oct. 8, 2016 in Austin, Texas.

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Billboard and 1800 Tequila will also document the art fair, which will be featured in a documentary that explores the intersection between art and music and its deep-rooted connections.

Hip Hop Through the Lens of Photography will be held on Friday Dec. 2 at Up and Down at Nautilus Beach from 9 to 11 p.m. ET.

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The Weeknd’s ‘Starboy’ Album Is Out Now

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HustleTV Music News The Weeknd’s Starboy has landed.

The two-time Grammy winning R&B artist’s hugely anticipated album dropped Friday (Nov. 25) across digital services via XO/Republic Records.

The 18-track album clocks in at more than an hour and features two previously-released collaborations with Daft Punk, plus guest slots from Kendrick LamarLana Del Rey andFuture. DJ Hustle

The Weeknd

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The Weeknd Talks Working With ‘Genuis’ Kendrick Lamar on ‘Starboy’: ‘We Started Connecting on This Record’

Starboy is the Weeknd’s fourth album and the follow-up to the Billboard 200 chart-topper Beauty Behind The Madness, which spawned the No. 1s “The Hills” and “Can’t Feel My Face.”

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Earlier this week, the Canadian artist (real name Abel Tesfaye) released the short film Mania, which he wrote, and was directed by regular collaborator Grant Singer and features previews of the songs from the new album.

The Weeknd recently announced the Starboy: Legend of the Fall 2017 World Tour, his first-ever global trek. DJ Hustle

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The Best Christmas Songs to Dance to

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HustleTV Music News  While there’s no shortage of questionable dance floor reworks of winter holiday standards, you won’t find any of them here. Billboard Dance took one for the team and sorted the EDM Christmas song wheat from the chaff so that you wouldn’t have to.

Take a listen to our list of dance music’s best Christmas songs below and heave a sigh of relief. DJ Hustle

Kaskade’s Christmas Remixes

Mad Decent’s A Very Very Decent Christmas

Sascha Cawa & Dirty Doering – Ding Dong

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Kanye West Songs Remixed

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HustleTV Music News  Kanye West. Is he a genius or a madman? A god or a demon? Whatever side you choose to sit of the great Kanye divide, numbers don’t lie, and Kanye West is one of the most favored and critically-acclaimed hip-hop acts of all time.

Remember that time he rapped “DJs need to listen to the models, you ain’t got no f-ckin Yeezy in your Serato?” That was six years ago, seemingly a lifetime in pop culture news, and DJs have certainly learned to keep Mr. West’s records on the quick draw. The dance electronic world has really adopted him as one of their own, and in many ways, he is. 808s and Heartbreaks, anyone?

His trap hits seem to be the most popular for the rework, but sometimes, his tender moments get taken for a spin. Here list of the 10 best Kanye West songs remixed. DJ Hustle

“Four Five Seconds” – Afrojack

Kanye West once called himself a “black Beatle,” (yes, long before Rae Sremmurd), then he turned around and made a track with Paul McCartney. Actually, he made a few, but this one features Rihanna and garnered a fun, laidback, summery vibe from Afrojack. This might be the most poolside groove Afrojack has ever recorded. HustleTV

“Flashing Lights” – T/W/R/K

The Graduation favorite gets 10CCs of pure beat injection. It’s not Chicago footwork, but you can still do the running man if you want to. They put Yeezy’s sleezy lyric on repeat and have a grand old time toying with Dwele‘s pitch.

“New Slaves” – DJ Snake

The original version of Kanye West’s song hit the world like a sniper. DJ Snake leaves its initial impact intact. The French producer lets Yeezy’s powerful words hang in the air before strappin’ the song with machine-gun snare and leg-wobblin bass lines.

“Mercy” – RL Grime & Salva

There are probably thousands of “Mercy” remixes out there. It was one of the biggest songs of 2012, hip-hop or otherwise. It’s dark, minimal, and mean, and our favorite rework is this sinister rave synth take from trap-dance gods RL Grime and Salva.

“Cold” – Lunice

They don’t want Lunice to make a cold-ass remix of Kanye West’s song with DJ Khaled, so Lunice is going to make a track so cold, you need Theraflu. This is a rip from a Boiler Room set, and it’s going to have to do. They are real triflin’, these days.

“All The Lights” – Pretty Lights

Imagine how stoked Pretty Lights was when Kanye West’s song came out with a title that practically begged him to work his magic? The experimental producer turns the drums up to 11 and fills the air with percussive synths. You can really hear his affinity for live instrumentation in this unreleased 2011 gem – not that there isn’t plenty of electronic weirdness to go around.

“Say You Will” – Ryan Hemsworth

808s and Heartbreak was a visionary release, even if it left many scratching their heads like “wait, what?” Looking back, it’s easy to see how influential West’s saddest LP has truly been on the music world, and this Ryan Hemsworth remix from 2012 helps accentuate that fact. DJ Hustle

“I Won” – Luis Futon

Kanye made this joint with Future, and Luis Futon made this remix with heaps of future bass. It’s cute and airy, just like a stereotypical trophy wife. You’ll wanna cuff this track, take it out on the town, and show it off. Luis Futon FTW.

“Stronger” – A-Trak

A-Trak and Kanye have a long working history. He’s recorded scratches for his beats and traveled as West’s official tour DJ ever since the rapper happened upon his performance in a London record store. A-Trak initially expressed doubts that Kanye should even mess with Daft Punk’s “Harder, Better, Faster, Stronger,” it being a generational anthem that wasn’t yet 10 years old, but it worked out in Kanye’s favor big time, and A-Trak was a real pal on the wicked remix.

“New Slaves Routine” – Craze

Is it cheating to put a turntable routine on remix roundup? Nah, because Craze spent decades honing his craft to get this good. A live Kanye West remix is a Kanye West remix, nonetheless, and this is stupid dumb cool. Funfact: Craze toured with Kanye for his Glow in the Dark tour as A-Trak’s fill-in when the latter was busy handling Fool’s Gold affairs. Big up the dopeness.

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Friday Night Club Night Las Vegas Comes To Hollywood Universal City Walk Saddle Ranch DJ Hustle

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Join HustleTV ‘s DJ Hustle every Friday night at Saddle Ranch Universal Studios City walk Hollywood.  DJ Hustle aka Hot Hands will keep you moving with Top 40, EDM, Dance Music, & More weekly.

Juicy J ft Wiz Khalifa – All Night (Clean)
01:02
Fifth Harmony ft Fetty Wap – All In My Head (Clean) – 5B
01:29
Z ft Fetty Wap – Nobody’s Better (Clean) – 5A
02:45
JR Castro – Right Away (Clean)
04:46
Katy Perry – Rise
06:23
Trey Songz – About You (Clean / Intro)
07:26
Chris Brown – Picture Me Rollin (Clean / Intro)
08:48
Jonn Hart x Clayton William ft Mr Vegas – Beat Bust Down (Clean)
10:37
The Weeknd – Real Life [Stijco Bootleg Remix / Clean]
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The Weeknd Reveals Full ‘Starboy’ Track list

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HustleTV Music News….It’s here. The Weeknd‘s album Starboy is just around the corner, and the official tracklist is up on Twitter for the whole world to see. DJ Hustle

The album opens and closes with the Daft Punk assist, with features in between from Lana Del ReyKendrick Lamar, and Future. Clearly, it is going to be dope af. Check the stats below, and hit the web for that preorderHustleTV

 

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Rae Sremmurd Songs Remixed

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HustleTV Music News…. After 12 insane weeks at the top, The Chainsmokers have been usurped on the Hot 100 by none other than Rae Sremmurd. The adorable brothers, Gucci Mane, and Mike Will Made It home boys have one major hit on their hands with “Black Beatles,” thanks in no small part to the Internet phenomenon called “The Mannequin Challenge.” HustleTV

“Black Beatles” is both Rae Sremmurd and Mike Will’s first number one anthem, but it isn’t the pair’s first smash. Here, we recap some of Rae Sremmurd’s best songs together (because they always work together) as re-envisioned by producer superfans. Which is your favorite? DJ Hustle

“One Touch” – Havok Roth

The original beat was produced by Baauer and features additional singing from AlunaGeorge. It’s subtle and smoky, but this version adds a supersonic blast of bite. It’s not the most complex drop, but it will drop your on your ass.

“No Flex Zone” – Baewatch

The first time I heard “No Flex Zone,” I knew whoever that was rappin’ was about to be a star. It was the most infectious thing on rap radio, and this Baewatch rework is everything we liked about that tune on steroids. Get slapped in the face with dopeness.

“Look Alive” – Infested

Damn do we dig the beat on this sucker. The original Rae Sremmurd song is kind of a downer, a leaned out mess of a beat. This remix picks the whole party up and puts it on its dancing feet. The trap breakdown in the middle is for you freaks tryina get extra sexy. HustleTV

“No Type” – NGHTMRE

Who wants a g-house remix of “No Type?” Oh, everyone? NGHTMRE’s got you. There’s a good bit of wonk on this delicious morsel, and plenty of dark bass boost to get that groove stuck in your hips all night. HustleTV

“This Could Be Us” – No Sleep

“This Could Be Us” is the sweetest offering in the Rae Sremmurd song catalog, so it makes sense it would get a cutesy future bass rinse. There’s plenty of gangstaliciousness left intact, but there are enough rose-tinted touches and sparkly additives to take the love song to brighter, bolder heights. DJ Hustle

“No Type” – XAVIER Cover (Hitimpulse Remix)

Maybe it’s cheating that this is a remix of a cover, but we can’t help but fall in love with the softer side of this single. We know the original like the back of our hand, and this just flipped and dipped all our pre-existing notions of the jam, it’s like hearing it for the first time. DJ Hustle

“Black Beatles” – Aazar

The number one song in the country gets the turn-up treatment. The chorus brings the listener in as you know and love it, but the drop comes in with a diabolical twist. There’s something yet sensual in its abrasive delivery, and that’s what keeps us coming back for more. DJ Hustle