BNYX is a 30 year old producer, songwriter & occasional rapper from Upper Darby Township, Pennsylvania mentored by Jean Baptiste & joining the Working on Dying production team known for pioneering tread music. He’s also known for being an extensive collaborator of Yeat, signing to the latter’s Lyfestyle Corporation imprint under Field Trip Recordings & Capitol Records distributed by Universal Music Group. In preparation for his upcoming full-length solo debut Genesis FM, he’s dropping off a taste of what’s to come with a debut EP.
“Room of Smiles” by Dayne Jordan & UHMEER co-produced by BNYX’s brother BEAUTIFULMVN begins by talking about meeting a woman who happens to be incredibly fashionable & once the sample drill-influenced “Telepathy Love” by Clara La San describes a kind of love that feels telepathic hence the title, “Interstellar” by George Clanton & Jahvor finds the pair talking about a man & a woman being unified by yearning for one another.
Fortunately the 2nd half is where things start to pick up, with Johnny Yukon delivering an alternative R&B banger called “Water” hoping the door’s open when comes back once he picks up motion while my favorite track “Proud of Me” by Earl Sweatshirt talks about hoping his mother Cheryl Harris is happy for him, which meant a lot as someone who was around during the Odd Future era in light of Twitter trying to cancel Tyler, The Creator. As for the closer “Switch It” by Yeat & Zukenee, both of them unite for an outro staying more dangerous than ever.
Some of you may remember that I praised BNYX near the end of 2023 as the best mainstream producer of that year & as happy as I am for him getting a label dark, his inaugural EP preluding his upcoming debut LP gives the impression that it could be average at best. I don’t have any complaints in terms of the trap, cloud rap, pop rap & rage production. However, my biggest criticism regarding Loading… is easily the consistency amongst the guest performers & sometimes that tends to be the case with producer albums.
Portland, Oregon rapper Yeat elusively announcing his 7th EP earlier this week & it’s finally here. Emerging in 2018 off his debut EP Deep Blue $trips, he’s been dominating the mainstream since 2021 whether it be him dropping several projects or receiving cosigns from the likes of Drake & Earl Sweatshirt. He eventually signed to Geffen Records, who backed his sophomore effort albeit major label debut 2 Alivë & it’s companionable deluxe EP Gëek Pack shortly after. Coming off his 5th mixtape Lyfë a few summers ago alongside Aftërlyfe & the experimental Capitol Records debut 2093, he went back to his roots to rep the Lyfëstyle & has returned 10 months later for a Dangerous Summer.
“Put It Ong” produced by BNYX of Working on Dying hops over a vocal sample with some synthesizers & hi-hats flexing that he can make $1M in a week tops whereas “Loco” travels towards a rage-inducing direction thanks to Synthetic of Internet Money Records admitting that the money got him going insane. “Loose Leaf” finds himself talking about a woman who loves percs & pearls leading into “Oh I Did” featuring NGeeYL finds the pair refusing to even waste a minute.
Meanwhile on “Comë n Go”, we have Yeat over some quirky synths to tell a bitch to come out & show him exactly how thankful she is that he showed her his Lyfestylë just before “[ADL IS COMING]” preludes the man’s upcoming 6th LP A Dangerous Lyfë. “I’m Yeat” was a fun west coast trap/rage single talking about the kind of guy he is while “M.F.U. (Middle Fingers Up)” featuring SahBabii finds the pair breaking down the way they live until the end.
“2Tone” featuring Don Toliver starts the last leg of Dangerous Summer going back-&-forth with one another over a futuristic beat thanking God for the times they used to pray for coming to fruition while “Fly Nitë” featuring FKA twigs serves as a duet wanting to proven why they shouldn’t leave each others’ sides tonight. Last but not least, “Growing Pains” finishes up the EP by talking about feeling as if he’s going insane.
Whether we get A Dangerous Lyfë by the end of 2025 or at some point the following year, Yeat reunites with BNYX for a 34 minute precursor that’s less 1-dimensional regarding the production & bringing a menacing demeanor with only less than a couple months until fall begins. In terms of consistency from the guests, the last 2 features at the backend of it suit the vibes the Lyfestyle Corporation founder was going for.
This is the 5th studio album from Portland rapper Yeat. Coming up in 2018 off his debut EP Deep Blue $trips, he would followed up with 2 mixtapes & 3 more EPs before beginning to dominate the mainstream in 2021 whether it be him dropping a total of 4 projects (2 mixtapes, an EP & a full-length debut) or cosigns from the likes of Drake & Earl Sweatshirt. He eventually signed to Geffen Records, who backed his sophomore effort albeit major label debut 2 Alivë a little over a year ago & then a deluxe EP Gëek Pack shortly after. Coming off his 5th mixtape Lyfë couple summers ago alongside Aftërlyfe & the experimental 2093, he’s back to rep the Lyfestylë.
“Geek Timë” is this rage-inducing opener with Yeat boasting that he hits with the 10 instead of the 5 whereas “STFU” takes the Memphis route instrumentally sampling “Test My Nutz” by 2 Low Key to talk about being outside with the rag. “They Tell Më” heads back towards a hypertrap direction even though it’s one of the more repetitive moments lyrically, but then “Heard of Më” maintains a rage vibe altogether thanks to both Internet Money Records in-house producer Synthetic as well as venny talking about being geeked up like a God.
Moving on from there, “Speedball” sticks to the signature sound that many have come to know him for gettin’ this motherfuckin’ bag carryin’ a Glock by side in the process leading into “U Don’t Know” keeping the rage beats going leaving everyone who eventually tried him dead. “Orchestratë” has these prominent horn sections throughout that I found myself enjoying running it back up every weekend just before the sinister “Bë Quiet” featuring Kodak Black talks about being way too rich.
“The Costës” continues the dense, buzzing synth work with repetitive chord progressions & melodic synth leads wantin’ to know what y’all need so he can do the opposite while “Go2Work” featuring Summrs finds both SlayWorld members over a hypertrap instrumental comparing themselves to demons lurking during the evening. “Gone 4 a Min” suggests that maybe he’s bad for his own good throwing it back to Ye or the Nazi formerly known as Kanye West’s 4th album 808s & Heartbreak with the beat while the synth-driven “Forever Again” asks a dead man walking if he remembers him.
As for “On 1”, we have Yeat turning the rage back up shrugging off the lyfestylë is what others wants to be instead of them thinking they actually be living it out here while “Flytroop” maintains a hypertrap aesthetic dissing Lil88. The bassy “Eliminatë” talks about not needing a lamp or light since he already knows where the fuck he’s at while “Lying 5 Fun” flexes that he’s on a new level as further justified by 2093 & everyone else thinking he was done hooking up more synthesizers & hi-hats.
“New High” featuring Don Toliver psychedelically finds the pair dropping braggadocio while the synth-trap crossover “So What” admits to being fried. The title track featuring Lil Durk energetically sees both of them rockin’ out while “God Talkin’ Shhh” addresses everyone who thought of him as a pilgrim. “Lyfë Party” asks shawty if she’s being real on top of promising shit hasn’t changed & “Fatë” ends with him ridin’ with the windows down in this bitch.
Starting the deluxe run, “Project Lyfestylë” is this siren-heavy dedication to his Field Trip Recordings & Capitol Records imprint Lyfestyle Corporation while “For Lyfë” asks if anyone would want to do this with him for the rest of their lives. “Night Come” talks about feelin’ himself since he’s high as Hell at the moment & wanting to know why you so basic over more synths & hi-hats while the raging “5Brazy” featuring Quavo on the remix interpolates “TURNMËUP” spazzing out.
“Barbarian” futuristically dares y’all to come out & fool his squad with all them sticks they’re carrying while the blaring “Gravëyard” talks about Lyfestyle party wanting everyone to come on in & bring a friend. “Gonë” sticks to his hypertrap guns suggesting that he could be trippin’ while “Style Lyfë” showing off his flytroop status once more. The final bonus track “Back Thën” ends the deluxe complexed between not wanting to be alone & those who won’t leave him alone.
2093 marked a stylistic departure from Yeat since he took on more of a industrially experimental hip hop sound in comparison to rage & if you were disappointed in that previous LP even if I think it’s the best thing he’s ever done, you’ll probably find yourself preferring Lyfestylë. The production mainly returns to the hypertrap sound that made the Portland star a household name with additional elements of pop rap & experimental hip hop showing off a handful of new obsessions whether it be telling lies, gazing with wonderment at lights, threatening to cut people’s heads off like the Red Queen.
Portland rapper Yeat continuing his tradition of releasing music in February with the 4th full-length LP in his discography. Coming up in 2018 off his debut EP Deep Blue $trips, he would followed up with 2 mixtapes & 3 more EPs before beginning to dominate the mainstream in 2021 whether it be him dropping a total of 4 projects (2 mixtapes, an EP & a full-length debut) or cosigns from the likes of Drake & Earl Sweatshirt. He eventually signed to Geffen Records, who backed his sophomore effort albeit major label debut 2 Alivë a little over a year ago & then a deluxe EP Gëek Pack shortly after. But coming off “Rich Minion”& his 5th mixtape Lyfë couple summers ago alongside Aftërlyfe, we’re now being taken into the future on 2093.
“Psycho CEO” really gives everyone a look at what they’re getting themselves into with this industrial boom bap/trap crossover pushing up on the beat like a knife whereas “Power Trip” with co-production from Tom Levesque of Vanguard Music Group admits to possibly doing things that he never did before over some synthesizers up until the switch-up during the last minute in a half or so. “Breathe” literally samples Regular Show flexing that he made a billion bored on the jet prior to the dense “Morë” produced by Bugz Ronin & Internet Money Records in-house producer Synthetic confessing he loves losing control & needs a lot of shit.
The drums are completely removed on “Bought the Earth” going synthwave delving into themes of power & self-interest just before “Nothing Changë” blends these synths & hi-hats together talking about wanting too feel real referencing SpaceX founded by Tesla CEO, Neuralink founder & Twitter owner Elon Musk. “U Should Know” kinda gives off a rage inducing vibe likening himself to a fiend that likes to make money & doing things that you never should, but then the electro-industrial “Lyfestylë” featuring Lil Wayne discusses not being surprised by living this life.
“ILUV” entrancingly talks about seeing the future & coming back on top of loving it when his partner stays with him so they can rage together over a hypnotizing Rio Leyva beat while “Tell Më” talks about being born to live forever over kicks, snares & synthesizers. “Shade” continues to pull from electro-industrial thanks to Keyon Christ tackling the concepts of defiance, self-assurance & personal reflection while the distorted “Keep Pushin’” talks about defiance
Moving forward, “Riot & Set It Off” is this captivatingly dynamic 2-parter to start the 2nd half of the album refusing to conform & initiating action while “Team CEO” sonically builds itself around multiple synths from Outtatown acknowledging they might not get it at first. The title track breaks down the futuristic lifestyle he lives as the EBM influences make their way back into the fold while “Stand on It” featuring Future returns to Yeat’s hypertrap roots showing their swagger.
“Familia” reflects on wealth, power & loyalty within his inner circle over this mind-altering instrumental from BNYX of Working on Dying while the self-produced “Mr. Inbetweenit” declares that to be a new nickname for himself “because everything I said about that shit, I didn’t mean it” over synthesizers once more. “Psychocainë” hops on top of this booming trap beat while the raging “Run Thëy Mouth” tells y’all that “when you level up, you get that money like it’s Follywood”.
Continuing the encore of the LP, the penultimate track “If We Being Rëal” gives off a mysteriously dreamier atmosphere talking about taking shit to a new level on top of simultaneously feeling isolated & detached until the soothingly produced closer “1093” talking about not being from this Earth as well as being unable to stay although he wishes that he could. The first of currently 6 bonus cuts “As We Speak” featuring Drake experiments with pop rap, regalia & wave music to show off their luxurious lifestyles beginning Phase 2 & the rock/trap crossover “Never Quit” subsequently ends it by talking about refusing to walk away.
“Timë Passed” begins Phase 3 with a sequel to “Sidëwayz” tackling his continued success over a plugg instrumental that marks the return of the bells from some of his previous material also contained & the industrial/rage elements clashing on “Oh My Pockëts” are pretty fun telling y’all straight up he doesn’t & doesn’t want to know shit about those he refuses to let in his circle. “SKLUB” admits to havin’ problems with these demons & being amazed that no one has caught on except the synth-horn trap beat reminds me a bit of Pi’erre Bourne, but the 6th & so far final bonus track “H.A.B. (High As a Bitch)” ends Phase 3 in the form of a hypertrap anthem dedicated to being high as fuck.
It’s always exciting when an artist goes right when everyone expects them to go left & that’s pretty much what Yeat does throughout 2093. It’s noticeably more experimental than his previous material switching rage from a primary to secondary influence next to trap, electro-industrial, synthwave, EBM, pop rap & wave music predominantly showcasing an industrial hip hop sound painting an image of what life will be like 69 years from now.
This is the 3rd full-length album from Portland rapper Yeat. Coming up in 2018 off his debut EP Deep Blue $trips, he would followed up with 2 mixtapes & 3 more EPs before beginning to dominate the mainstream in 2021 whether it be him dropping a total of 4 projects (2 mixtapes, an EP & a debut album) or cosigns from the likes of Drake & Earl Sweatshirt. He eventually signed to Geffen Records, who backed his sophomore effort albeit major label debut 2 Alivë a little over a year ago & then a deluxe EP Gëek Pack shortly after. But coming off “Rich Minion” & his 5th mixtape Lyfë last summer, Yeat’s picking up where he left off with the Aftërlyfe.
“No morë talk” opens things up with some farty synthesizers & hi-hats from BNYX of Working on Dying talking about riding with his demons whereas “Shmunk” embraces the rage as the only legitimate feature on the album YoungBoy Never Broke Again tags along so they can flex their mob ties. “Bëttr 0ff” admits that he could give a fuck less of what others say & has no time for the fuss over a bell-infused trap instrumental from Bugz Ronin, but then “Rav3 P4rty” has a more dance influence to it courtesy of dulio talking about being on the edge.
Meanwhile on “Nun id change”, we have Yeat over a more robotic instrumental wishing that he could feel leading into “Woa…!” talking about how he ain’t friendly nor does he leave the crib without the strap over a wavy trap beat. “Now” comes through with an experimental sound courtesy of BEAUTIFULMVN confessing he hears voices when geeking just before “Slamm” throws it back to his earlier work sonically as dude steps on his opposition.
“7 nightz” comes through with some additional synths & hi-hats estimating that he’s been fucked up under the influence for about a week while “Mëan feen” is a piano trap ballad coming around shootin’ & slidin’ all over town. “How it go” is a dedication to the lifestyle that he lives today over a vigorous instrumental while “Sum 2 do” brings back the rage beats so he can remind everyone that he’s the one shaking the game up.
Moving on to “Back up”, things take a more cavernous tone instrumentally as Yeat admits that he’s relapsed on percs while “Split” comes through with an explosive hypertrap jam that ChaseTheMoney & Internet Money Records in-house producer Synthetic put together dedicated to Bentleys & women who want to be as rich as him. The self-produced “Bad bënd (DëMON)” was actually recorded 2 years ago yet it stands as a favorite of mine in the track-listing from the intoxicating beat to the lyrics about doing whatever he wants while “Hëavyweight” declares himself as champion over some bass & hi-hats.
“Watch” has a more minimal sound this time around as he advises those to sit back & see how he does it when he drops while “Shhhh” has a booming bass-line talking about being nowhere near the same level as anyone else in the game. “Back homë” is an acoustic trap cut comparing & contrasting his life then & now while the song “Type monëy” finds him swerving over a melodic beat. The penultimate track “Dëmon tied” opens up about the Devil watching his eyes over a hazy instrumental & “Mysëlf” ends things to a tribute to being true to oneself with a beat kin to “Can’t Stop It”.
This was actually a bit different than what I normally expect to hear from Yeat, but I most certainly welcome it & am curious to hear if he continues to go down this rabbit hole later on in the year. His knack for catchy songwriting remains in tact as the production this time around is significantly more experimental than his previous efforts & the 3 alter egos that he introduces throughout each have their own uniquely distinct characteristics.
Yeat is a 22 year old rapper from Portland, Oregon who out in 2018 off his debut EP Deep Blue $trips. This was followed up with 2 mixtapes & 3 more EPs, but he began dominating the mainstream in 2021 whether it be him dropping a total of 4 projects (2 mixtapes, an EP & a full-length debut) or cosigns from the likes of Drake & Earl Sweatshirt. He just dropped his sophomore effort albeit major label debut 2 Alivë under Geffen Records during the first quarter of 2022 & is commemorating the 1-year anniversary of Up 2 Më this weekend by dropping his 3rd mixtape following the huge success of “Rich Minion” earlier this summer.
“Flawlëss” is an otherworldly trap opener produced by BNYX of Working on Dying with Yeat on the hook & a sole Lil Uzi Vert verse boasting their lifestyles whereas “Up off X” dives into rage territory talking about being wide awake at night due to taking ecstasy. “Out thë Way” has a more calmer vibe to it declaring himself to be the baddest, but then “Wat it feel lykë” works in some wailing synths & hi-hats to diss rats.
Meanwhile on “Got it all”, we have Yeat over a bass-line & snares to flex his wealth leading into “Can’t stop it” brings some rock undertones to the beat surprisingly refusing to quit going hard. “Krank” almost has a cinematic quality to the instrumental talking about geekin’ just before “Talk” returns to the hypertrap sound to deliver some braggadocious lyrics.
“Comë on” shoots for a more electronic aesthetic to it thanks to BenjiCold going for the necks of his competition while the song “Systëm” has a more darker tone sonically talking about the drugs hitting right. The penultimate track “Holy 1” is a cloudier cut detailing his mob ties & “Killin’ ‘ëm” sends off the album on a wavy yet deadpan note talking about coming from that dirty.
Considering that Geëk Pack was just a decent collection of microwaved 2 Alivë leftovers, I had no doubt that Lyfë was gonna expand on what made the predecessor the fun major label debut it is. Lo & behold, that’s what happened here. It’s refreshing to hear Yeat dabbling with some new sounds than last time & his knack for catchy songwriting remains unmatched.
Year is a 21 year old rapper from Portland, Oregon who out in 2018 off his debut EP Deep Blue $trips. This was followed up with 2 mixtapes & 3 more EPs, but he began dominating the mainstream in 2021 whether it be him dropping a total of 4 projects (2 mixtapes, an EP & a full-length debut) or cosigns from the likes of Drake & Earl Sweatshirt. But now with “U Could Tëll” appearing on one of latest Euphoria episodes & signing to Geffen Records, we’re finally being treated to Yeat’s long-awaited sophomore album.
“Poppin’” sets off the whole thing off on a cloudy note courtesy of BenjiCold boasting whereas “Outsidë” with Young Thug finds the 2 detailing the many benefits that come alongside their position as artists referencing 2-time WWE Hall of Famer, former 16-time WWE world champion, WWE Intercontinental Champion, 6-time WWE United States Champion, 6-time WWE tag team champion & 9-time NWA World’s Heavyweight Champion Ric Flair over an upbeat Supah Mario instrumental. “Rëal 6” takes a more atmospheric yet bass-heavy route with a clever homage to Nipsey Hu$$le in the hook, but then Trgc makes “Nvr again” sound something out of a retro video game as far as production goes & talking about his drug addiction.
Meanwhile on “Luh gëek”, we have Yeat over some prominent bass getting in his shit-talking bag leading into the Gunna assisted “Rackz got 2 më” talking about money consuming them over some somber bells. “Doublë” has a more futuristic feel to it detailing being “geeked out his mind” just before “On tha timë” talks about being the big dog & the instrumental reminds me a lot of Super Mario.
“Jus better” reincorporates some bells into an electronic backdrop speaking down on his competition while “Jump” reveals itself to be a vigorous moshpit anthem. “Dnt lië” follows it up by talking about going up on the list over a quirky instrumental whereas “Rollin’” shoots for a more chilled out vibe to flex.
Continuing from there, “Taliban” comes in with a more playful sound saying he’s always a geek while “Narcoticz” brings in Yung Kayo for a synth-laced drug theme. “Call më” follows that up with a decent love ballad & “Kan’t dië” picks brings back the synthesizers to brag.
Ken Carson tags along for the triumphant “Gëek high” talking about pulling up with the team while the song “Luh m” with SeptembersRich is a cool little sequel to “Insidë out”. The penultimate track “Smooktobër” finds Yeat talking about fucking up the game over a spooky beat from F1LTHY of Working on Dying & “Still countin’” ends with the album with a hedonistic trap banger that Internet Money Records in-house producer Synthetic laced detailing the rich life.
“Big tonka” with Lil Uzi Vert starts the deluxe run with a euphoric, bell-heavy ode to Lamborghinis teasing a potential collaborative tape if that actually happens while “Kant rëlax” follows it up with a hypertrap banger about how ready he is. “No commënt” takes a more vibrant direction dissing Autumn! in the hook leading into Uzi returning for the futuristic yet uncanny “3G” talking about being the only ones outer space.
Meanwhile on “Nëw turban”, we have Yeat returning to hypertrap territory reincorporating some bells to spit some braggadocio just before “Hatër” claps back at those who don’t like him over a rubbery instrumental. The song “Way back” comes through with a more anthemic ballad talking about getting the cash while the penultimate track “Luv monëy” with Lancey Foux speaks for itself accompanied by a bass-heavy beat. “Dub” finishes the EP with an electrifying instrumental talking about his wins.
To see how far this dude has come within the last year has been incredible to watch because 2 Alivë has to be his best full-length yet in my eyes. It’s not as cloudy or pluggy as his early work, but he still displays a unique take on modern trap even on a major label.
This is the full-length debut from Portland rapper Yeat. Breaking out in 2018 off his debut EP Deep Blue Strips, he would go on to follow it up the next year with his debut mixtape I’m So Me. Then after dropping We Us & Hold On, it’s safe to say that 2021 is his biggest year yet. Especially given the success of Alivë & 4L. But now with a month since putting out Trëndi & earning a co-sign from Drake, he’s continuing the hustle with Up 2 Më.
“C’mon” is a cloudy opener about killing pussy whereas “Morning mudd” works in some synthesizers from Bugz Ronin to say he had to get up & chase a bag. “Got rich” goes for a more rage-inducing vibe thanks to none other than F1LTHY of Working on Dying with Yeat bragging about his newfound wealth just before “Lët ya know” has a more futuristic sound telling us this might be his last song.
Meanwhile on “Stayëd tha same”, we have Yeat jumping on top of some snares & bells from BNYX to talk about never switching up despite his recent success leading into “Gët Busy” having a bit of a retro video game feel in the beat with boastful lyrics. “Rokstar” boisterously details his new lifestyle, but then SeptembersRich tags along for the rubbery “Trëndy way” talking about how they do shit.
“Swërved It” has some incredible organ harmonies talking about calling out those fronting on him while “Ya Ya” produced by Internet Money Records in-house producers Rio Leyva & Synthetic mixes a bass-line higher than the synths answering “yes” to all these questions people been asking him. “U could “tëll” grimly proclaims his top dog status whereas “Factz” brings in a flute saying he didn’t get this shit for free. “ Bak on ‘ëm” takes a murkier direction speaking on being in a rich climate, but then the instrumental “Hëy” brings to table sounds more robotic & Yeat taking about punching these bitches off the Earth.
“Turban” has a more chaotic sound continuing to detail where he is now leading into the unhinged “Twizzy Rich” proclaiming it’s all on him. The wobbly instrumental on “Told ya” is dope with Yeat saying he just caught the vibe, but then the rubbery synth banger “Monëy so big” that Trgc cooks up talking about his wealth increasing within the last few months due to his newfound popularity.
“Dëserve it” brings back the bells to speak on needing it all while the song “K’ant changë” is a rowdier cut continuing the theme of not letting fame get to him. The penultimate track “Callin’ më” serves as a response to the labels & old friends/bitches contacting him again now that he’s famous & then “Lying 4 fun” is a skeletal closer telling us he’s livin’ life just how he dreamed of it.
Even though I’d have to say 4L & Trëndi are his finest bodies of work to date, I think Up 2 Më continues to build up to Yeat’s hype. I could’ve done without like 5-6 joints & some of them could’ve been more fleshed out, but his unique personality is still shining as bright as it ever did.
Yeat is a 21 year old rapper from Portland, Oregon who first emerged in 2018 off his debut EP Deep Blue Strips. He just dropped his 3rd mixtape Alivë back in April as well a 4th tale 4L just a couple months back but with his next full-length Up 2 Më in the works, Yeat has decided to give listeners an appetizer before the main course with his 5th EP.
“Mad ‘Bout That” kicks things off with a grisly sequel to “Sorry ‘Bout That” whereas “Fukit” is an energetic follow-up based around the expression of nonchalance. The penultimate track “Insidë Out” with SeptembersRich finds the 2 flexin’ over an instrumental from Rio Leyva of Internet Money Records that sounds clearly inspired by Playboi Carti’s Whole Lotta Red & then the closer “Tonka 2” serves as a wavy sequel to “Tonka” off Alivë produced by BNYX from Working on Dying.
This kid’s profile has only been increasing within the last couple months & it’s really not hard to see why. I think he has a unique voice, the hunger is there in his performances/songwriting & has a decent ear for production. At this rate, Up to Me will definitely propel him to the next level.
Legends Will Never Die 