photography: Destin J Bryant You're a new artist to me. After I became more active on my Twitter account I came across you in April around the time you dropped Jahshua. Since then, I've seen you drop another album and get a clothing line going. Where is your inspiration coming from? King Jahsh: Honestly, my inspiration comes from whatever I’m going through in real life. I tend to make music about my life, or how I feel about things that are going on in my life in hopes that people that are going through the same things as me can make a legit connection. How challenging has it been to get to this point? What lessons have you learned that help move you forward? King Jahsh: It’s been overwhelmingly challenging to get to this point honestly. I’ve never gotten any type of handouts, opportunities, or “Looks” and honestly it’s been very hard the last year. I think quality is very important but it’s also not cheap. I don’t believe in putting out anything that isn’t quality and honestly that’s why it’s been so hard because I come out of pocket for for literally everything I do. Jahshua & Julius. Two really dope albums. For me, Jahshua felt more intimate with interpersonal emotions and experiences tied to them while Julius had those aspects but was more of a declaration of you and the path you're forging. What do these 2 albums mean to you? King Jahsh: Jahshua was definitely more intimate. Jahshua took YEARS to come together and I wrote almost all the songs to Julius within the span of 2 hours! I literally said, “I want to drop a project in July and name it Julius.” And within the next few hours it was written and ready to go. There were two references that I want to know more about. In "God Body" off you most recent album, Julius you state, "this an ankh ain't no Jesus Piece" and also in your song, "Space" off your previous album, Jahshua, you stated, "used to live by the cross now I live by the ankh." There's a signaling of elevation in both these statements. Can you tell me more about it? King Jahsh: So I grew up in a pretty strict Christian household. My Mom is a pastor and my Dad was the minister of music. There were a lot of random things about Christianity that I questioned that seemed like they should have answers but no one had answers for me. Such as, “Why do we say amen when we end our prayers?” or “Why are prayers always answered when you fast?” These 2 questions alone led me down a different spiritual path. I found the answers to most of my questions. Do you feel as though you found growth between projects? King Jahsh: I do feel like I find some growth between all my projects. Especially when it comes to the engagements on like social media. Music wise I also feel like I progress a bit between drops. In the last song, "Sometimes" off Julius it sounds like you're going to be taking a break from rapping? King Jahsh: Yes, that is true. I don’t know for how long though. It could be a few more weeks, it could be a few more, it could be a few more months I’m not sure. But, when I release again, I will be comfortable releasing. You also have a clothing line, KÖNIG. What does the brand represent to you? And what made you choose to use a German word? King Jahsh: The brand is honestly everything to me right now. It saved my life before it was even established! It still isn’t where I want it but we are getting there. I brainstormed for a really long time. So many name ideas that i liked and didn’t like for weeks. The clothes were already made but I had no name. Then one day I was in the store getting ice cream with Dani (featured on “FREE”) and I liked how the A in Hägen looked. In that moment I remembered the word King in German had the Ö and once I drew it on paper I knew that was it. That was the brand. What are some of your aspirations with KÖNIG? King Jahsh: I want KÖNIG to be global. Local people try to put everything you do in a local box but I believe everything’s I do is meant to be global. It meant the world to me when the 1st ever customer I had was someone I didn’t know that lived in Atlanta. That ended up being you haha. But I want everyone to be able to rock affordable designer clothing. Once it’s a bit more successful, I plan to drop some pieces for Women and Kids. I got some FIRE for the ladies! Julius Jahshua

FEBRUARY 2021 SPOTIFY PLAYLIST ARTISTS FEATURED: RON OBASI, IHATEYOUALX, ROME STREETZ, GOLD HAZE, CMONEYWAVE, DOEMAN, REAUX MARQUEZ, ATLCASUAL, KALEB MITCHELL, SAINT KNICK GUNNA, CHRIS CRACK, LIL KAYLA, ROB STONE, KAREEM LEDELL, LOS, CANTRELL, JANSPORT J, JAY NICE, JOEY FATTS, DEMRICK, JIM JONES, BODEGA BAMZ, PROPAIN, NATIV3 SOUNDS, MAVI, KNOWGC, CHESTER WATSON, PAYROLL GIOVANNI, CHASE N CASHE, TREE, SHORDIE SHORDIE & KIIIA

https://ampl.ink/jEAya

ronobasi.com

Southside Houstonian Propain dropped off his album, It Ain't Safe Outside at the top of February. Since the album has released I play it through at least every other day. It Ain't Safe Outside is nothing short of a collection of stories, observations, thoughts and feelings directly from the soul of Propain. He thoroughly paints pictures with each bar, chorus, feature and sample. The album also connects some of the legends of Houston Hip Hop and it's contemporaries such as: Z-Ro, Sauce Walka, Lil Keke, Slim Thug, Paul Wall, Lil' Flip, Big Pokey, Big Jade, Peso Peso & more. The album's production is handled by XO, Liljunemadedabeat & more. Production wise the album uses enough samples for the listener to find familiarity but also uses them in a way that it becomes it's own entity (s/o the creativity of Houston producers.) Propain is able to emit an energy that represents an undying love, care and support for his city. Throughout It Ain't The Same, Propain is emotes love, grief, faith, pain and anger. The aspect that continually has me revisiting the album is Propain's vulnerability and willingness to share them with his fans, supports, listeners. There's a courage that comes from speaking truth and staying true and authentic to one's soul. It was difficult to choose favorite songs from It Ain't Safe Outside simply because the entire project sounds/feels so concise and coherent. From dribble, the album's opening track, "It Ain't Safe Outside" featuring Z-Ro has news clips and clip from Dave Chappelle's special where he mentions George Floyd. Already with the tone set, Propain dives into his thoughts about the state of the world from Corona Virus to police brutality. "We don't get no therapy we just walk around like nothing fazed, just another day" The next song, "Mama's Eyez" is told through Propain, but through what he imagines his Mama has seen. The track highlights how black death, poverty, gentrification and a variety of struggles traumatize us. Still very heartfelt, "Heart To Heart" serves as a reflection/vent for Propain and the weight that he often carries on his mind and shoulders. In this song we hear a lot of his inner most thoughts and feelings. "I've been righteous all my life and all I got were scars" "Championship Game" is used as a song to transition the album into a faster pace; he's talkin' his shit in this song. After Propain pops his shit a bit the album moves into "H-Town" featuring Sauce Walka. The track has very soulful production that uses a sample that sounds familiar to "I Ain't Made At Cha" by Tupac Shakur. A beautiful song where both artists pay homage to their city while also recognizing their own individual impact. It Ain't Safe Outside shifts into the song, "Saturday Night Freestyle" that shows more versatility from Propain. The song is full of different rhyme schemes, pace increase, really spittin' - the type of song you'd put up against some grimey ass NY rappers. My favorite words from the song: "But my niggas we gotta switch the direction. Your baby mama birthed your child and that's your biggest blessin'. Regardless of y'all's status, even if you not together, if you don't do nothin' else you gotta respect her" After the freestyle, "Ashley Banks" gives a sweeter tone, a true love song. I appreciate this song a lot because we're hearing about romantic love and shows another level of vulnerability from Propain. There's a Trillville, "Some Cut" sample tucked in (at least the bed squeaking aspect.) The next track, "Freak" featuring Big Jade is a great song especially with the added Adina Howard sample. My only concern with this song is I'm noticing a pattern of only putting fire ass lady rappers on songs that have them expressing sexual tendencies. I want to hear lady rappers rap about more than their sexuality especially on an album that touches on much more than that. Propain then turns the energy up with Peso Peso on "Rap Life" where they both give braggadocios raps. Production is hard af. "So it seems fame is stronger than that crack pipe/ these hoes will sell their soul and do whatever for some app likes/ these niggas breakin' all their street codes just for that rap life/ they rather look like money than really get their sack right" After the "conscious" turn up, Propain guides us to one of the first singles from the album, "Kill Me" featuring OTB Fastlane. This track touches on the frustrations of the many threats facing a young black man and/or boy. A memorable moment from the song is how he speaks on a friend who was locked up and how that will affect his daughter and where she will be when he's released. Another soulful song with poignant lyrics and beautiful trap spirituals from OTB Fastlane. The last two songs of It Ain't Safe Outside are, "Underdawg" and "Way Too Fly." A perfect ending the album simply because in "Underdawg" he's literally talkin' about what the title concludes, the struggle of the underdawg but still demanding respect and acknowledgement. Then the album finishes with "Way Too Fly" where Propain enlists Houston legends: Lil Keke, Slim Thug, Z-Ro, Paul Wall, Big Pokey & Lil' Flip. Good luck finding your favorite verse from the song! Overall, Propain delivered one of my favorite albums this year yet. It Ain't Safe Outside highlights all the different factors that make outside "unsafe" but at the same time represents that it ain't ever been safe for black people "outside." A very vulnerable album that speaks on black plight, respecting your baby mama, money management, staying true to your Self, where you from/how you represent and most importantly, beware of the snakes! Listen here.

Vol. 1, Issue 2 Playlist (November) ARTISTS FEATURED: ADV, KING JAHSH, PINK SIIFU, FLY ANAKIN, T CARRIER, JXDECE, AZIZI GIBSON, VEL THE WONDER (VEL NINE,) LE$, JOEY FATTS, TREE MASON, SPANISH RAN, NANA, ROME STREETZ, IVY SOLE, LORD JAH MONTE OGBON, LIL BEEZY, BRYANT TAYLOR, SKYWALKA HARP, BOCHA, DONTE THOMAS, BLAKE ANTHONY, FREDDIE OLD SOUL, K.A.A.N, MTRSPRT, SK808, WAVY WALLACE, BANDO BEATZ, LOSIF STALIN, POPSTAR BENNY, SEDDY HINDRINX, MALC, CHRIS CRACK, WILLIE THE KID, ABE LINX, TULLY C, J. HURT, TY FARRIS & KID BREEZE.

JANUARY 2021 PLAYLIST ARTISTS FEATURED: YUNGMORPHEUS, RYANN, BLACKMAYO, 704 CHOP, CHAVIS CHANDLER, JAY LUSE, BRYCE SAVOY, LG, BUN B, LE$, LORD JAH MONTE OGBON, WRAY, THE MUSALINI, NAPPYHIGH, DOT DEMO, MAASAI, PROJECT YOUNGIN, JODY JOE, SPANISH RAN, AL-DOE, BIG KAHUNA OG, MONDAY NIGHT, NAE, IAN KELLY, G PERICO, CHASE N CASHE, DEF SOULJA, REAUX MARQUEZ, EMILIO CRAIG, VEGA, HENNY LO, $HRAMES, COUSIN FEO & O FINESSE.

www.livingplusgrowing.com

Vol. 1, Issue 3 (December) Playlist

$ilkmoney - Attack of the Future Shocked, Flesh Covered, Meatbags of the 85 Lorde Fredd33 Folklorde Ron Obasi Sun Tapes T. Carrier - Gumbo God Effect Bino Rideaux - Outside Kamaiyah x Capolow - Oakland Nights Deniro Farrar - Sole Food Duke Deuce - Memphis Massacre 2 Joey Fatts - Still Cutthroat Jameel Naim X - '06 Weezy Brittney Carter - As I Am Nana - Save Yourself Sheff G - Proud of Me Now Chris Crack - White People Love Algorithms Shordie Shordie - >Music Flee Lord - Hand Me My Flowers ANKHLEJOHN - As Above So Below Blacc Zacc - Carolina Narco Larry June - Keep Going Sleepy Hallow - Sleepy For President

KRS-ONE - Between Da Protests Smoke DZA - A Closed Mouth Don't Get Fed E40 - The Curb Commentator Channel 1 Slim Thug x Killa Kyleon - Down In Texas Blu & Exile - Miles Royce da 5'9 - The Allegory Freddie Gibbs x The Alchemist - Alfredo Ransom x Nicholas Craven - Director's Cut 3 Styles P - Styles David: Ghost Your Enthusiasm Killah Priest - Rocket To Nebula

Great John fav 2020 prods: One and Only by Sheff G (album) Ohbliv fav 2020 prods: Sages by Henny L.O. Drew Banga fav 2020 prods: Quarantine EP by SU'lan Pete fav 2020 prods: At Heaven's Gate by Jimmy Golden Jansport J fav 2020 prods: Soulfidelity Tip12lve fav 2020 prods: >Music by Shordie Shordie Cookin Soul fav 2020 prods: Caribbean Bites Hit-Boy fav 2020 prods: Also Known As by Dom Kennedy 38 Spesh fav 2020 prods: Trust Army II Knxwledge fav 2020 prods: 1988

BLESSED NOT LUCKY is an album that unapologetically reps East Atlanta. Buddha’s storytelling abilities use various similes and pop culture references in order to convey his narrative. Throughout the album Buddha references several Hip Hop veterans and/or legends in his lyrics. He is also very apt at mentioning historical sports moments and figures in accordance to thoughts, feelings or the innerG of Buddha’s life. I was initially drawn to the album because of the cover art. The imagine above shows: Buddha smoking, wearing a Michael Vick jersey standing in front of the Big Boi portion of the Outkast mural in L5P. Hella Atlanta. The album begins with production by Rudeboii — slight sirens, a deep bass and Buddha in the background loosely singing the hook until the beat builds up and he comes on the track commanding: “I’m on Runtz and D’usse, D’usse and Runtz/tell me what you say you want/ this ain’t no game, Jayceon/ I want that blunt and the bong/ passed a backwoods to my momma/ I’m getting high like Obama/ I don’t gotta hide like Osama/ my shit a new groove like dat llama” Initially, I felt it was too simple and was like, “wow another one of these youngins rappin’ about runtz and D’usse.” Hype…but as I listened to the project a few more times through I found myself singing the hook and looking deeper into the lyrics and found multiple meanings within the lyrics I initially found simple. The Obama aspect of the line has 3 meanings I was able to identify: “getting high like Obama” — a simile referring to the infamous picture of Obama smoking weed, “getting high like Obama” — rising in social rank and importance to a particular community, and “getting high like Obama” — could be a direct correlation to smoking on Obama Runtz. It also feels as though the alternating line, “I ain’t gotta hide like Osama” could refer to opps but seems connected to Buddha smoking with his momma; that the woman that gave birth to him knows the ins and outs of what he’s pursuing. There’s a certain pride one can carry themselves with knowing that one or both of their parents are somewhat fucking with the aspirations, dreams and means to get there. Familial support is important even if it’s represented as smoking a blunt with mom. The last section, “my shit the new groove like dat llama” — love this simply because The Emperor’s New Groove is a Top 10 movie from childhood but also because BLESSED NOT LUCKY does have a different groove to it. The second track, “Vibe Check” is upheld with a smooth and clean production by Banbwoi. In the song Buddha questions various situations and people tryna understand where their innerG at, “vibe check; where the fuck are the vibes at? After a vibe check you’ll find Buddha using similes to express and harness his own vibe with likeness to the determination of Tom Brady and ruthlessness of Tom Chambers in his line, “Do whatever to win, like Tom Brady/ Put my foot on they neck like Tom Chambers” After “Vibe Check,” BirdieBands brings us into a more playful and fun production with “Slip N Slide.” This is one of my numerous favorite tracks on the album because Buddha was able to catch a balance of declaration and celebration. “I saved the day and I paved a way/ I made a play but I can’t fade away” In this line Buddha is taking credit for the path he is forging — a slight flex of personal capabilities and taking his dreams into his own hands (despite the path others may have wanted him to take.) This was a track that I could hear features from other Atlanta artists like KEY! or Young Nudy (although the track is great the way it is.) BLESSED NOT LUCKY then slows down a little in the next song, “I Know a Girl” where Dylan Furai creates a smoother and daintier production that still has a consistent hitting bass. In this song Buddha speaks on the balance innerG he receives from women in his life. For every woman that loves and supports Buddha there’s a woman or two who may be waiting on his downfall. The following song, “Check In My Name” has such a beautiful production by Crackgod that rides the line between R&B and Hip Hop/Rap. Definitely a production that you cruise to late at night looking at city lights. The song features Cluu (also from East Atlanta) and DAVESTATEOFMIND (who laces the track with gorgeous vocals.) I LOVE this song purely off of the vibe and the texture both of the features add to the song. After a more sentimental song Buddha gets back to drawing a line in the sand between him and whoever believes they’re in his league with, “We Don’t Relate.” And if I’m being honest there’s not more I can say about this song besides Buddha’s lyrics: “we ain’t run the same race/ we ain’t playin the same game/ we don’t wear the same thing/ we don’t think the same way — we don’t relate… goat shit call me LEBRON BRADY” Yeah, bars and confidence. Besides that great production by Miles650. We get back to another dope production by Dylan Furai (Dylan Furai hoe) on “POP.” I didn’t like this song too much (not because of content or sound but just how the song/content was laid out.) But what I do appreciate about the song is all the geographical references such as: Marta, Smyrna and Turner (which I probably wouldn’t have not recognized if I didn’t live in Atlanta for a couple years.) Then we get to the track, “Dr. Dolittle” with production by Danny1of1 that sounds like a combination between drill and trap (which are kind of cousins.) The song features Jourden who just magnifies the track to the 1000th degree. Her entire verse has so many dope punch lines and references along with a laid back confident delivery. My favorite line is below but y’all just gotta really tap in with the project and hear this song and verse for yourself. “I’m bumpin’ that Wu/ this how a Ghost talk” Again, I just appreciate how many Hip Hop legends made it into conversation in this album in entirety. The next two songs, “Stuck!” and “Misunderstood” are great tracks with production by OVRCZ and Devin Leavell. My only comment about these two tracks is that they are the two shortest tracks on the album and are lined up back to back. I’m not too fond of that layout. I do wish they were separated or even made into one song like how they did in the early 2000’s (having 2 different songs be one.) Although, I do understand that that’s just how things work out sometime maybe the sounded best by each other when creating BLESSED NOT LUCKY. Dylan Furai may be one of my new favorite producers. Just off this album he’s already produced 3 of my favorites and the next song, “Gresham Road” is one of them as well. I always love when artists genuinely represent where they are from and don’t shy away from the realties of where they come from. “I got a backend I ain’t tryna reverse it/ I am who I is/ I ain’t gotta rehearse” On “Gresham Road” Buddha tells us a little more about what it means to be from Zone 6, East Atlanta. He also makes a reference to Sean Carter and aspirations to be on that level one day. After Buddha’s verse we get to the chorus that is signified by the bass picking up, dropping a little harder and Buddha coming more dominately, “Say he got smoke on Gresham but nigga I post on Gresham/ I blow zaza, no regular and I’m smoking some pressure.” This song reminded me of Zone 6 (Remix) by Young Nudy — not in the sense that Buddha was copying or that the songs sound similar (because they don’t,) but both artists in both songs are representing and celebrating where they are from at the same time. “GO BIG” produced by Diitii was one of my least memorable tracks but when I asked my girl (who is from Atlanta) to spin the album this was one of her favorite songs so I paid it more attention. The chorus stood out to me the most, “Shawty want tits, I’m with it/ shawty want ass, I dig it/ shawty want lips, I get it/ shawty want dick, she get it” This was dope. Buddha ain’t policing his woman and the way she wants to present or enhance her body. There seems to be a double meaning here; that his girl(s) want all these aesthetic/body type enhancements and Buddha acknowledges it because he got it (or will in near future) to provide her with the resources/money to get it done. It also sounds like he’s simply just supporting and acknowledging what his girl(s) wants/envisions/how she wants to claim her body — there’s a pattern of Buddha supporting his girl and friends in this song… he states what his girl or friends want or talking bout then he follows up the rhyme/bar/line by giving his response to it (in support of.) The final track , “Defrost (outro)” is a genuine outro track. Wakai’s production slows down and makes it feel like a wind down/end of album/but we’ll be back. This was the song that had me spinning the album over and over and it was specifically for this line: “They ain’t just killin these sons they killin these daughters/ I know we lambs of God — is that why we slaughtered?” Not very often do rappers talk about that reality for women too and this was my first time feeling like an artist genuinely cared about us in that way. Shoutout Buddha for thinking about us women beyond attraction or family. Besides this line I really fucked with the chorus too, “Back and forth road trips, Atlanta — B.R./ I bring my strap for protection not tryna be hard/ I do this shit cuz I’m chosen it don’t be hard/ they say once your heart frozen it won’t defrost.” There’s a theme here of our reality as Black people and what’s threatening our lives but also how we can protect ourselves (the best we can.) BLESSED NOT LUCKY is an impressive debut album from Atlanta artist Buddha. He has impeccable beat selection and is able to tie in many references and similes that tells us about him, the world he’s living in and where he is going. If you enjoy hearing what’s bubbling in the undercurrents of Hip Hop in the South (specifically Atlanta) this is a great one to tap into! Available on all streaming sites: https://album.link/BNL

“Is this what Heaven like? I feel like I’m living in Paradise,” Jimmy Golden sings in his opening track, “Paradise!” off his new album, At Heaven’s Gates solely produced by Acr0bat. The hook creates a dichotomy in a time period where we find ourselves weighed down by the current factors facing humanity and the world — in different countries, various cities and towns, and in an array of languages. Knowing, seeing, hearing, feeling our reality right now I wondered: what is it Jimmy Golden is experiencing that has him expressing innerG of a heightened state? As I moved through the album several times over it became apparent that the “Heaven” and “Paradise” Jimmy captured in that song is stemming from actively staying in the present (a very difficult task when everything around you is constantly moving and changing.) The second track, “I Can’t Decide!” represents being present with a bit of indecisiveness. Acr0bat, of course, laces the track but this time with a more playful trap/pop influence that gives the song an ambitious innerG. The transitions throughout the song were very enjoyable — Jimmy is able to switch between rapping and falling into melody quite effortlessly. The song also represents an urge to MOVE, see, feel… like a yougin’ is really just tryna live. Truthfully, Jimmy Golden has provided the best line to sum up how many of us feel, “I don’t even know what day it is / Quarantine got a nigga bent / bitch, I’m lit I’m tipsy — you know I get jiggy, yeah.” We get to the third track on the album, “Baby Tesla?” which sounds exactly how the album cover looks — shooting for something, reaching for stars, immense symbolism that can be decoded in time. Around the one minute mark Acr0bat switches up the beat to a smoother sound that feels as though you’re on a space cruise navigated by Acr0bat and Jimmy Golden. One of my favorite lines, “I’mma stay with it no matter how sad I get — bitch I am the best I am far from the average.” This line is an affirmation — a moment where Jimmy exhibits belief and faith in self through his acknowledgement/awareness of feelings or thoughts. There’s a knowing that his pain or sadness is inevitable but so is growth, love, light and happiness. Then, At Heaven’s Gate pivots a little in the track “4 the Old Heads.” This was one of my favorite songs because Jimmy shows his rapping versatility using a reggae/dancehall influenced flow with how he breaks flow patterns to rap from the back of his throat. With the different flow it makes it easy for the listener to hear his rawness and confidence using a more slightly aggressive flow. A notable line from the song that exemplifies Jimmy’s intricate rhymes, “And don’t you fuck with a vet/ runnin your stairs like Artest / they barely playin Harden defense ain’t no way I get checked / or get a foul, foul out, then I’ll plow the ref, get me a tech, flight the desk, get the team jumpin…” Then again, Jimmy and Acr0bat switch the sound and flow up a bit more on, “We Are Golden!/Wrestle With Jah!” where Acr0bat gives us production that feels/sounds like galaxies speaking in a grungy basement. Additionally, Jimmy comes rapping at a higher velocity and punk appeal that you can feel reverberate through his throat chakra. The second half of the song, “Wrestle With Jah” holds strong symbolism of God/Jah/Allah and an internal battle of what can be perceived as good vs. evil. “They gonna say that I’m lucky but I’ve worked so hard/ I just be talking to God, He is never too far/ I give to Allah, He talkin to me — I just be talking in all of my dreams/ Allah told me to go shoot at you geeks — wait that was a demon/ talkin to me for no reason/ I need a date with the deacon/ really been looking for Jesus — please tell me why I can’t see him” I found this part of the song interesting because “Wrestle With Jah” feels like a direct reference to Jacob wrestling with God: “And Jacob was left alone, and there wrestled a man with him until the breaking of day” (Gen 32:24.) For some of us who aren’t too familiar with the Bible — Jacob wrestles with God (mentally but feels physical) at Jabbok. It’s a place that is lonely and must be faced alone; a private war between you and God/Allah/Jah/The Creator. Ironically, physically, Jabbok is a tributary of the infamous Jordan River. In Hebrew it means, “to empty itself” and is known as a place of total surrender. The theme of Jacob at Jabbok mirrors Jimmy Golden in our current world and possibly even where he’s from, Tampa, Florida. Regardless, the theme is constant throughout At Heaven’s Gate — Jimmy searching for God/Jah/Allah and wrestling with his own existence and the factors that may threaten it but still proceeds to come out on top. Below you can watch Jimmy Golden’s performance for “We Are Golden!/Wrestle With Jah!” on ByteTV for one of their #Crispy Sessions. His innerG is off the charts! “I Vaguely Remember” is my favorite track from At Heaven’s Gates. I love it because Acr0bat and Jimmy’s chemistry is undeniable and really dope — they compliment each other’s style and versatility well. It was nice to hear Acr0bat vocally on a track juxtaposed with the texture of Jimmy’s voice/tone. This track has a real laid back, almost “West Coast” vibe to it with unique vocals. Also, this is a song where Jimmy touches on the reality of being Black in the United States. Subsequently, Acr0bat provides beautiful production on the song “Witch Prollems” featuring Cosmella Sol. This song was my least favorite song but also is the song that peaked my curiosity about Jacob at Jabbok; “I think this is the battle that Jacob had dreamed at Jabbok.” In this song it felt as though Jimmy is battling in a different conflict than what was expressed in previous songs. This feels like a conflict more intimately connected to lust and how it’s hard to identify lust as a conflict when it provides so much pleasure. Lastly, “GO!” serves as an outro, summary of topics (in a sense,) and intermission until Jimmy Golden goes on his next mission and shares it with us. He adds one a couple more affirmations to the track, but I’m partial to to the positivity, “I gotta glow I don’t care how dark it get.” Overall, At Heaven’s Gates is full of symbolism ranging from God/Jah/Allah to sports and our current state as humanity. The album is a testament to Jimmy Golden’s obstacles and triumphs — a telling of affirming where one is going despite the pain, hurt and confusion. Most importantly, At Heaven’s Gate reinforces the importance of having fun and finding enjoyment in the moment you’re in. I look forward to more work from Jimmy Golden and Acr0bat (both separately and collectively.) If there’s anything more I could ask for it would be to have more music videos to experience Jimmy’s visual storytelling alongside his vocals. Be sure to give the album a spin! Spotify: https://open.spotify.com/album/4eby0qCeDeq5bm0S2uXZuX?si=_u3knPmBQQuF6HsDGzy6SA Apple Music: https://music.apple.com/us/album/at-heavens-gates/1533285533

CROWNTHEM Newsletter| Issue 7, Vol. 1 featuring Atlanta artist VEGA & Inglewood artist KIIIA. 25+ Recommended albums & EPs from April 2021.