8 Overlooked Rap Mixtapes You Need to Hear – Warungku Terkini
warungku writer Alphonse Pierre’s rap column covers songs, mixtapes, albums, Instagram freestyles, memes, weird tweets, fashion trends—and anything else that catches his attention.
The summer’s best under-the-radar mixtapes
As playlisting has become more and more popular over the last decade, it’s reasonable to ask: Do full-length rap projects still matter? To me, they do. Sure, there are standalone songs I play all the time, but the full mixtape experience remains the ultimate way to understand who a rapper is and where they’re coming from. Below are eight tapes that have been giving me that feeling lately.
The ghoulish beats on Leave No Man Behind could summon a demon. With quavering vocal samples, horror-movie church bells, and drums that sound submerged in gunk, Philly rapper Lil Buckss has landed on a drill-leaning style that should soundtrack that scene in The Devil’s Advocate where Keanu Reeves finds out he’s the son of Satan. His clenched-jaw flow cuts through the creep. On some tracks his cadence goes slow-motion for dramatic effect (“Pray for Them”), and other times he’s so far ahead of the beat that it sounds like the instrumental was added after the fact (“8 Deep at Nanny Crib”). Either way, the apocalypse always sounds imminent.
Somehow, MadMan might be even darker than Leave No Man Behind. But the violence in ATL ghost-whisperer BabyDrill’s lyrics is so vivid and excessive that the tape is more akin to the supernaturality of horrorcore than the realism of drill. Throughout MadMan, BabyDrill switches between two voices: his normal, high-pitched barking, like an evil Lil Yachty with a splash of Gucci, and a deep-voiced one that sounds like a Scooby-Doo villain before they’re unmasked. (Both are equally messed-up.) The beats, many of them by Young Nudy producer Whatitdoflip, makes all these nightmarish skin-crawlers click.
I know pretty much everyone says they’re a rapper and a singer these days, but Kelly Moonstone is doing it for real. On I Digress… the Queens-bred artist alternates between the two skills as smoothly as L.A. Angels sensation Shohei Ohtani goes from the batter’s box to the pitching mound. There’s a warmth and romanticism to her singing voice that screams neo-soul, but sometimes she’ll add cool bits of trippy effects, like on “Sinner.” My favorite melodic performance is on “Digress,” where her hushed voice is wistful, doubtful, and hopeful all at once. Yet even in that mode she’s got #bars: “I can’t smoke to cope no more, I was raw dogging/Had to cut the nigga off that I was raw dogging.” The beats on here knock, too, with woozy contributions from a long list of underground heroes including Budgie, Navy Blue, Tee-WaTT, and Kelly herself.
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