All posts by vikashdass

Album Review: Jamie xx | In Colour

June 5, 2015 vikashdass Leave a comment

What’s in a genre, anyway? Genres themselves can usually be constricting and compact in general, conveying a sense of inflexibility and generally puts walls around the sound being described. When things are ever experimental, it’s usually a conspicuous and sharp reach for something more, yet for English-producer Jamie xx, it’s a little different. With Jamie xx’s first step away from his group The xx, he has released a record that boasts sonics that are perfectly mingled, experimental in a sophisticated way, and minimalistic while still colourful. With a refreshing and stimulating take on one of modern music’s most staple instruments, the sampler machine, Jamie xx’s debut album In Colour is able to reinvent the wheel in the most pleasing and unconventional ways possible.

After listening to this record, it becomes very clear that Jamie has a very specific yet eclectic ear, one that varies and reaches only to collect and add to a cohesive piece and aesthetic. In this respect, Jamie is flawlessly able to pull features from Young Thug, Popcaan, and bandmates Romy and Oliver Sim while having nothing look astray. The album starts with the building and jittery ‘Gosh’, with a clanging percussion based beat built around a sample built from old BBC Radio sessions. The beat never really builds and breaks, but instead swells and cracks to reveal shining synths that pierce through the fading percussion. It’s an intro that is as subtle as it is genius, and doesn’t overuse the sample in a dance-y way a la Les Sins or Hudson Mohawke. ‘The Rest Is Noise’ pulses at a similar pace, but uses more traditional chords to build on to the crisp claps. The short interlude ‘Just Saying’ toots and whistles below layers of reverb and filters, fading in and out of a key-based melody and a faint talking sample.

Not everything here is subtle and ambient, though. ‘Seesaw’ bounces at a tempo that frequent collaborator Romy is usually not accustomed to, but her voice is filtered above and beneath the beat in a fashion not far from fellow British-producer James Blake’s wheelhouse. What becomes more and more evident, however, is the contrast between this record and Jamie’s previous production cues with The xx and even with his Gil-Scott Heron remix-album, We’re New Here. On those records, his sounds seemed more muted and controlled, where here, once the track flows and progresses, it breaks into colourful blends of disco, dance, and garage. The undeniable summer banger ‘I Know There’s Gonna Be (Good Times)’ is a brilliant example. Popcaan sounds at home atop the bright and vibrant baseline, while Young Thug sounds unusually excited and joyous, bringing more of his lighthearted Barter 6 flow to the track. Where Jamie might build a space of intimacy and closeness with his straightforward song structures, he is also able to effortlessly craft catchy and even anthemic jams with the help of his excellently executed vocal features on the album.

That, in a way, is where the real genius is found on this record. While a lot of gripes with The xx have been the bland vocals and songwriting, specifically pointing at the lack of range and emotion used on tracks in general, Jamie xx is able to solicit emotion with his brilliant, shimmering production cues, making the most simple and even grotesque loops seem beautiful and compelling. ‘Hold Tight’ features a weird, off-beat loop of some kind of dialogue, but the shuttering synths and hard 808s behind it make it seem so interesting and thoughtful. ‘Sleep Sound’ is able to use samples in a similar fashion, this time by burying it beneath layers of reverb and filters while layering it between distorted harps and soft percussion that rises and floats at beat breaks. It masterfully balances the vibes of dancing your heart out in a poorly lit club in a tight room with the intimacy of sitting at your laptop with your headphones on.

If In Colour is anything, it’s lustrous balance—in the most refreshing way. It’s balancing dancehall with trap, indie with soul, and dance with trip hop. The record finds it’s pinnacle moments side by side with samples of all shapes and sizes, while Jamie is also able to impress with his brilliantly tamed drums and minimalist bass lines. It’s able to be polished and beautiful yet it exists in a space that would be best heard in grimy underground London club. While In Colour is essentially an experiment in modern bass lines and matured, nostalgic samples, it is also can be viewed as an album that invents just as much as it borrows.

Reviews

Album Review: BUSH | Snoop Dogg

May 15, 2015 vikashdass Leave a comment

Snoop Lion? Snoopzilla? It’s been a weird era for one of the West-Coast’s finest after striking out with innovation and rebirths over and over again. Reincarnation was strangely an off-putting attempt at reggae and dancehall, and 7 Days of Funk stood as a solid attempt that suffered from being too disjointed and shallow to really resonate with fans. After a few confusing years of rebranding and name changes for one of hip-hop’s biggest living legends, Snoop Dogg returns with the old name, a new feel, and a familiar friend with the entirely Pharrell produced album, BUSH.

The album is as playful and airy as the title suggests, a title that, as legend has it, Pharrell Williams pitched while suffering from multiple contact-highs from being in the studio with Snoop. Nonetheless, BUSH is not a lazy and hazy stoner album or a psychedelic swell of music—instead, it is an uptempo journey into Pharrell’s brilliant resurrection of funk with his signature cues and crisp, synthetic production. Snoop himself finds pockets where he can flow with beautiful melody often times backed by album regular Charlie Wilson and also rarer guests like Stevie Wonder or Gwen Stefani.

The album opens with the eclectic, foreign fusion that is California Roll. Snoop dances through the chords and a backing harmonica courtesy of Stevie himself, with dropping 808s and a feisty clav not too far away. Pharrell cuts through the song with a beautiful, familiar pitch, singing “Baby you can be a movie star/Get yourself a medical card, yeah” with a perfect delivery that simply melts every single time. Snoop ditches a gangsta bravado to become a more charming, poised and romantic version of himself being as smooth as ever. A similar pace is maintained on the groovy “R U A Freak”, where Snoop finds an almost identical pocket at a faster tempo, with swelling synths and groove guitars that seem borrowed from the last Daft Punk album. (Disclaimer: hilariously silly lines like “She’s DTF cause she’s down-to-feel” and “Are you a freak, or what?/I’m just a squirrel trying to get a nut” will definitely have you shaking your head.)

The first half of the record is dipped in familiarity for Pharrell, with a newness that isn’t too far removed from his past works. Bass-lines through a lot of it sound akin to those used with JT on Justified while songs like “Awake” sound influenced from “Fly Or Die” era N.E.R.D. beats. As the album jives on, though, tracks like “So Many Pros” and “Peaches N Cream” find Pharrell charting into newer, fresher territories. “So Many Pros” finds Snoop singing with more swagger and more of a stiff lip, while “Peaches N Cream” sees a more party-vibe with singing and some throwback bars that’ll have you two-stepping in no time at all.

“Run Away” with Gwen Stefani is a memorable back-and-forth between the two frequent Pharrell collaborators, with a throwback vibe and that signature Neptunes breathing-percussion used so frequently in the 2000s. The chorus here is chanted at usual Gwen-volumes before cascading into a sweeter melody as the two sing in unison. There’s a lot of singing and melody from Snoop on this album, but it doesn’t sound unnatural or forced. Snoop sounds in pocket and silky smooth as ever, and even though the singing isn’t always in key or on beat, it’s all makes more sense when you envision the cloud of smoke he’s probably singing through. “Im Ya Dogg” finds Snoop gliding through melody with some help again from Uncle Charlie, as he leaves the rapping to Rick Ross and Kendrick Lamar on the album’s outro. The MMG Boss brings a familiar vibe of excess and extravagance, while Kendrick punches in with a stop-and-start flow that’s equally frantic and romantic.

What else did we expect? It seems as though Snoop has finally found the alley-oop to propel him back on the right side of innovation and pop-relevance from Skateboard P himself. After all, these are the guys that brought us such treasures like “Beautiful”, “That Girl” and of course, “Drop It Like It’s Hot”, and while this record doesn’t have power-singles or very memorable rap moments, it’s an album with a consistent groove that just has an intangible sweetness to it. Sure, BUSH has imperfections that can be nitpicked and doesn’t have the most gripping vocal contributions from the album’s main artist, but the bottom line is the album is produced instrumentally and vocally to perfection, making it not only a memorable listen, but a listen that just feels gooooood.

Reviews

Album Review: .Wav Theory | Towkio

May 15, 2015 vikashdass Leave a comment

Action Bronson - Mr. Wonderful — **BY VIKASH DASS**

Playing second fiddle is not a foreign concept to Chicago-artist Towkio. Being one of the afterthought members of the SaveMoney collective, his artistic sightlines have often been obstructed by the success of those in front of him. After a wave of intriguing, bouncy and melodic singles, Towkio seeks to step ahead of the shadows of his peers by carving out his own identity with his latest release, .Wav Theory.

Being in a poppin’ clique has it’s perks, of course, and it shows when the likes of Vic Mensa, Chance the Rapper, Donnie Trumpet, Joey Purp, and the Leather Corduroys assemble on your project to help out. With collaboration after collaboration, Towkio does an excellent job of maintaining his own twists on his guests’ brands and content, with his own funky production and charisma. The bright and shining single “Heaven Only Knows” featuring some spirited bars from Chance is exciting and bubbly, as the verses build and build towards a joyful, choir-propelled chorus. Not only does the beat alone warrant smiles and reckless jukes, but the verses from both men involved are sharp and exciting. Towkio is as poised and even ignorant as ever, with lines like “My girl trippin’, say I treat her like a groupie/But I never took a groupie out to eat”, while Chance responds with a more enlightening perspective, describing his ambition to start non-profit organizations and his father being proud of him among other things. Aww.

“Involved” is a different vibe altogether, a smooth-slapper that skips along with more clever raps and a modern, chill-wave influence. Vic Mensa shows up to croon and introduce the anthemic refrain towards the end of the song. “Free Your Mind” is more of a retro groove, equipped with a groove-guitar riff and Donnie Trumpet’s signature horn spurts on the chorus. We could do without the lacklustre use of the vocoder, but what sticks out even more is the uninspired content. The truth is, as groovy and vibe-y as this project is, it makes for wasy listening but glides by without Towkio really saying anything. The production might be fresh and entertaining, but whenever you tune into Towkio’s lyrical ability, if you’re looking for anything past tweet-able punchlines and infectious choruses, you’ll be less than thrilled.

With that being said, there are still a few moments on .Wav Theory where Towkio comes across at least a little inspired. “Reflection” offers an emotional performance describing a cocaine addiction, playing on the fact that cocaine use in the bathroom often involves seeing your own reflection, suggesting a cold reminder and a wake up call of sorts. It might not be the most original idea for a track, but it’s still heartfelt and poignant. The intro, “.Wav Theory” is wrapped in a similar duality, with a schizophrenic, moody, downtempo beat and poetic lyrics delivered with layered vocals that grow and expand as it swells on. In terms of song-structure, it’s probably the most unconventional and impressive on the project.

Still, lyrics continue to entertain at some points on the project even without Towkio. The Leather Corduroys assisted “God In Me” might have a terribly underwhelming chorus, but the guest verses on this cut through with finesse and the delivery is extra sour. Chance’s minimal vocal contribution on “Clean Up” is still effective, as his charismatic ad-libs and lively views on turning up always entertain.

.Wav Theory is a solid project, from front to back. Nothing about it is terrible, but nothing about it is very profound or refreshing either. The production is entertaining and anthemic, the choruses are huge, and the guest verses are consistently great, but Towkio on his own offers little insight to his character away from the SaveMoney brand, and doesn’t do enough to set him apart from the greatly talented guys around him. It’s definitely not the “hottest tape of 2015” like Chance the Rapper envisioned on the single, but it’s fresh enough to keep us interested.

Features, Interviews

Interview | Elhae

April 20, 2015 vikashdass Leave a comment

BY VIKASH DASS

Elhae is more important than you think he is. In a year where every other week a major artist is dropping release after release, Elhae has managed to not only stay afloat as an unsigned artist, but also quietly dominate the internet. With his recently released EP being filled to the brim with silky-smooth traditional R&B melodies over ethereal yet explosive instrumentals not to far removed from Soundcloud’s beat culture, Elhae’s latest release Aura EP is a project that effectively balances relatable and traditional content and songwriting with genre-stretching production. Coincidentally, Elhae has aligned himself with one of the biggest heavy-hitters in online beat culture, the LA-based Soulection collective. Although he isn’t listed as being officially apart of the collective, he remains affiliated and holds friendships with many notable artists and DJs involved.

Aura EP is a time-capsule of sorts for Elhae. The project delves into the makings and emotional tensions of a transitional time in his life, with songs delving into the intensities of passionate attractions, as well as the hardships of loves lost. Aura EP is honest, reflective, and ultimately catches the ear initially with it’s familiar 90’s R&B aesthetics, but has fans staying because of his sultry and soulful approach.

Meet Elhae, a young and talented artist from the South who might have just made the best project you haven’t heard yet this year.

It’s been just over two months since you premiered your Aura EP project with Noisey in February. Reflect a little bit on your experiences and feelings these last couple months, and how you see the project now?

I knew from the very beginning that AURA was special. There’s just moments in life where things line up, and I felt the timing was right when releasing it. That being said, the reception has been phenomenal and it’s gotten me to travel a bit and perform these songs I spent so much time working on. It’s a great feeling. I see the project as a great stepping stone for me.

The songwriting on Aura EP feels very intimate and personal, all with the appeal of major pop-R&B melodies. Talk about this balance and the decision to make Aura EP sonically your most accessible work yet.

It really wasn’t anything pre-meditated. These were songs I would go in and just vibe to. I’m in a phase where I like singing a bit more. Rapping is always fun, but melodies drive these records, and are more memorable if we’re being honest. It wasn’t until the project was done where I stood back and said to myself “this is pretty personal stuff”. I feel like people relate to that more though, I love giving people soundtracks to life, because at the end of the day we all deal with this kind of stuff.

Does Aura EP do a good job of defining the sound of Elhae, or would you say this is simply a piece of what you can offer as an artist?

I’d say both. I love the sound AURA offers, however I wouldn’t say that’s what you should expect 2 or 3 years down the line. I’m always evolving, as a creative and as a person, so i’m not sure what an Elhae project will sound like later but right now I think the sound is good so we’ll see (laughs).

What kind of headspace were you in while you were writing Aura EP?

Kind of all over the place. I was more in a reminiscent state of mind. Thinking about past issues and present feelings. The evolution of emotions. It can get deep, but for the most part I was just trying to be as transparent as possible. Not only for fans listening, but for myself as well. AURA is something I can listen to years from now and say “I remember that, I remember feeling that way.”

How long did it take to record the EP, and what was that process like?

It was pretty easy actually. I started around October or November of last year (2014), and wrapped it up late January. It was a situation where the people around me, my team, we were hungry. We knew this could be a great stepping stone for us, so we were all ready to work and get it done. A lot of back and forths with my producers, and a lot of time spent mixing with my engineer, making sure sonically it was up to par. I’d say about 90% of it was freestyled so it got done fairly quickly.

Talk about the production on the record. Who are the producers involved, and how much of the production do you handle yourself?

Well there’s my right hand man, Ayo the Producer, and my other buddy Rascal. They carried the load. My homie Gravez did one track as well called “Time For You”, but for the most part Ayo and Rascal did a great job with understanding the sound I wanted. I took a step back and did more arranging than anything. I made sure the live guitar was here, or the violin and sax was there. I was very hands on with how I wanted the overall project to sound. Those two did a great job with listening and executing.

All your projects you’ve offered on Soundcloud are 8 tracks long. Talk about having shorter, concise projects—do you think great projects can say more with less?

I never even noticed that (laughs). Maybe it’s a subconscious thing. I don’t know man, I just always want to leave the listener saying “wow, that was good, I wish it was longer.” I want fans to want a part 2, or 3, or 4. That’s the goal.

Is being an artist your sole focus right now?

At the moment yes, I of course want to do other things, but I want to make sure I finish the plate before adding more to it.

Let’s talk about home plate, Atlanta. What’s it like growing up in one of the most musically diverse cities in the world?

I actually didn’t grow up here, I moved here about 4 years ago, but I grew up in a small town outside of Atlanta called Warner Robins, GA. That being said I traveled here a lot as a kid. I just remember the tall buildings and the music at that time wasn’t really what I was feeling. It was what I like to call the “snap era” (laughs). When I moved here I began to develop of love for the sound and what the city has to offer. It’s so many talented guys out here it’s really ridiculous if you sit back and think about it. I love it here though.

With acclaim and buzz surrounding any project, labels and industry-talk are soon to follow. Have any labels reached out? What’s your ideology on selling music and being apart of a label? Do you think it’s necessary in music’s current climate?

Yeah, we’ve had a few labels reach out. I think it’s cool if the situation is right. At this point it really isn’t necessary, however I will say there are a few things labels can do that may be a bit more difficult to do as an indie. It’s all about timing and understanding on both parties on where you see your career heading.

How would you describe the record label/collective Soulection’s involvement in your career?

I love those guys to no end man. Really amazing group of people, and i’ll forever be loyal to the soil with them. Hannah Faith and Sango was the first to really get on board then after awhile the whole crew. Then when I met everyone in LA it was just the most amazing vibe i’ve ever had around people.

You recently did some live sets with Soulection at SXSW. What was that whole experience like, and what’s next in terms of touring and live shows for Elhae?

Yeah it was great, SXSW is always fun. Getting to mob around with the homies. We’re working on putting together a little tour now, but it’s in the early stages, so you’ll have to stay tuned regarding that.

Let’s talk about what’s next. How do you plan to follow up Aura EP? Is the new music you’ve been recording a departure from what Elhae fans are used to?

Not sure, guess you’ll have to wait and see.

Well, speaking on what’s next, you recently posted a picture of André 3000 on Instagram saying “At the root of it all I watch you be you, and it motivates me to be me. You’ve inspired what’s to come.” Talk about the sentiments behind this post and 3 Stacks’ influence on your life and your artistry.

I sat up one night and listened to almost every song he’s been apart of. Then I watched mad interviews, and just his poise is so cool man. I was thinking man, I really want to do that. I want to do that but in my own way. Just be me, and people appreciate it like they do 3 stacks. I was just really inspired, thats where that post came from.

Where do you see Elhae headed by the end of 2015?

I’m not one to jump the gun, but i’d hope a lot further than where I am currently (laughs).

Where do the plans for an album stand? Does that process start with a label first, or would you be interested in releasing a free album?

I’m torn on that actually, because the ideas I have for my first album is so vast I really don’t want to do it on my own. I’d rather do it with a backing behind it. However only time will tell. Until then you’ll get more singles, and videos coming.

You’ve said before that it wasn’t until you saw Pharrell’s ‘Frontin’ video that you knew you wanted to pursue music. So, talk about meeting Pharrell a while back and what that experience did for your life.

Craziest thing man, It was even better because it was a surprise. Everyone that knows me knows that guy is my hero so when I finally got to meet him, and not only meet him, have a conversation with him, it was one of the best days of my life. He gave me great advice and I got to pick his brain a bit. It was amazing and it made me that much more motivated to go out and pursue this dream.

Elhae stands for “Every Life Has An Ending”. How does this apply to your everyday life?

It’s just motivation. There’s days where I don’t want to work, I don’t want to write, I don’t want to be in the studio. As corny as it sounds it really does motivate me when I think about it, and I hope it does the same for other people. Life is really short, and I just want to be able to fulfill my dreams before God says, “it’s time to go.”

You can find all of Elhae’s music for stream/download on his Soundcloud. Stay updated and follow him on Twitter and Tumblr as well.

News

Frank Ocean Updates New Website; Announces New Album

April 6, 2015 vikashdass Leave a comment

BY TER STAFF

recap-pemberton-music-festival-with-frank-ocean-outkast-5 — Photo by Blake Ponto/Hypetrak

New Frank Ocean music could be coming sooner than you thought. Frank took to his tumblr and his newly-designed website www.frankocean.com to announce “two versions” of what appears to be a magazine or book of some sort. It is titled “Boys Don’t Cry” and it is very ambiguous. What’s the source of real excitement is the hashtags underneath the photo, “#Album3” and “#July2015”, hinting that the long-awaited followup to 2012’s channel ORANGE might come this summer.

See it for yourself at Frank’s tumblr.

[Update: Frank Ocean’s team has since confirmed that “Boys Don’t Cry” will be a publication and Frank’s new album. You can expect the album around July!]

Frank Ocean’s upcoming LP topped our list of ‘Most Anticipated Albums of 2015’. You can check it out here.

Reviews

Album Review: I Don’t Like Shit, I Don’t Go Outside | Earl Sweatshirt

March 27, 2015 vikashdass Leave a comment

Earl Sweatshirt’s been through a lot. Whether it’s his much-publicized disappearance to some sort of juvenile centre in Samoa, his constant label disputes, his familial struggles, and even a recent breakup, there always seems like there’s a lot to talk about. However, often times Earl’s life outside of music tends to cast a shadow on the content itself—something Earl revealed to be a cause for concern in a recent interview with NPR’s Microphone Check. Earl’s intended promotion for his sophomore album I Don’t Like Shit, I Don’t Go Outside was to put out a video for a single first, with the title of the record at the end of the clip leaving fans to generate buzz from the cryptic nature of the rollout; instead, the label randomly blindsided Earl with releasing the album title, cover art, track-listing, and features on iTunes prior to the video even being released. “It’s now back to a hype-machine, where ‘Earl Sweatshirt is mad at the label’”, he said. “It was what I was trying to avoid”, he continued, adding that he wished his album promotion involved people “just talking about the content”.

Continue reading Album Review: I Don’t Like Shit, I Don’t Go Outside | Earl Sweatshirt →

Reviews

Album Review: Mr. Wonderful | Action Bronson

March 22, 2015 vikashdass Leave a comment

Action Bronson could’ve been a lot of things. He’s got extraordinary talent as a culinary artist, (just peep his incredible internet cooking show, Fuck, That’s Delicious) he’s got the persona of a professional wrestler, and the build of a celebrity bodyguard or mafia boss—but thankfully after a broken leg that sidelined him from the kitchen, Bronsolino decided on rapping and hasn’t looked back since. Bronson has been established his stardom within the mixtape world by linking up with incredible producers (Alchemist, Party Supplies and Harry Fraud to name a few) and crafting incredibly polished, cohesive, wholesome projects that are proficient at balancing cutthroat bars and an incredibly diverse and interesting character. In fact, the most gravitating aspect of Action Bronson is his character above all else—his raps and music videos often portray him being an outrageously humorous and kick-ass movie lead, yet every so often he has lines or songs in general that peek into his personal life to bring him back down to Earth. Bronson’s character is as intriguing and outrageous as someone like Riff Raff, but has the personable and relatable qualities to steer clear from fiction, making it very clear that Action Bronson is unapologetically and entirely himself. Bronson brings his bizarre, quirky bravado and much more to his anticipated debut studio album, Mr. Wonderful.

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Reviews

Album Review: To Pimp A Butterfly | Kendrick Lamar

March 19, 2015 vikashdass Leave a comment

It’s been a while since we’ve heard from Kendrick Lamar. Since his highly acclaimed 2012 debut, good kid, m.A.A.d city, Kendrick has continued to be burned into hip-hop’s collective memory. Whether it’s the replay value of his debated ‘classic’ debut record, his infamous, historic ‘Control’ verse, or other features alike, Kendrick’s presence has continued to be felt as one of the most important voices in hip-hop’s new, digital age. Kendrick Lamar’s trajectory seemed to be headed down a more commercial, sellable version of the conscious hip-hop we are accustomed to, as his previous projects continued to get progressively more and more accessible in terms of sound. Whether it was his hit single ‘Swimming Pools’ cleverly highlighting the perils of alcoholism masked under a familiar trap-bounce and catchy-hook, or bangers like ‘Money Trees’ and ‘m.A.A.d city’ being able to teeter on the lines of conscious storytelling while still being festival and club favorites, it seemed as though Kendrick Lamar had mastered the ability to convey his message in the purest form possible while still appealing to the majority. His lead single for his sophomore album, ‘i’, was no different. It was a polarizing record that ditched the hard-bars, name-dropping and 808s for a funkier groove, courtesy of an Isley Brothers sample and Kendrick’s pitched up, OutKast-esque flow. As positive and pivotal as the message was, much of the hip-hop culture was left torn when trying to support a more positive, uplifting message, but with a less hip-hop, lyrical sound. Many thought the Grammy-award winning ‘i’ was a sign of things to come, and possibly a full-fledged leap into an even more radio friendly Kendrick Lamar, but with To Pimp A Butterfly, Kendrick has ditched the drum-machines for live instrumentation and an exploration in a potent and pure incarnation of modern jazz-funk.

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News

Watch Kanye West Take in a Performance from a Hip-Hop Artist Outside His Paris Hotel

March 6, 2015 vikashdass Leave a comment

BY TER STAFF

Photo by Dan Garcia/The Early Registration

It’s not easy to impress Yeezus. From a man who has described himself as being “majorly underwhelmed in general”, he took a few minutes to part the crowd of selfie-stealing fans to take in rapper Jef Jonsin’s performance atop of his own vehicle parked outside of Kanye’s Paris Hotel. Peep the video below and check out rapper Jef Jonsin’s music here.

Continue reading Watch Kanye West Take in a Performance from a Hip-Hop Artist Outside His Paris Hotel →

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