Exclusive Artist Review: Cornelius Wright – “Bandit” Album

Rising Hollywood rapper Cornelius Wright began heating up the streets with his distinctive bars and hooks since his inception into the market in 2011. Originally hailing from Chattanooga in Tennessee, Wright’s gritty and innovative signature sound has garnered him an insatiable growing fan base and the independent artist over the years has proven to be a standout of his calibre with both his talent and work ethics collectively.

Now in 2021, the manifestation of Cornelius Wright’s craft comes full circle with the album release ‘Bandit’, comprised of nine hypnotic tracks that diligently showcase his own unique breed of Hip Hop with several crucial musicianship factors and cohesive elements as a songwriter. After the success of his first two singles earlier this year, Wright knew that he’d have to come out swinging with his follow-up release after already setting the bar high for himself. True to that notion, he did exactly that with ‘Bandit’, which is also a milestone for him considering it’s his debut album. There are many highlights on this record, and one of those highlights is opening track “Shine (feat. Maal the Pimp)”, an excellent banger that sets the tone for the rest of the album with Cornelius Wright’s aggressive and witty flow that gives him his distinctive stylization. This heavy-bass beat is very ambient and really gives Wright room to deliver an effective and dangerously catchy chorus alongside visceral verses that parallel each other brilliantly. This track opens the record powerfully and really serves up many crucial flavor throughout the song’s duration.

Now while this album has very innovative ideas and formulas, it also touches on originality and familiarity within the underground spectrum with the track “It’s Dark And Hell Is Hot”, boasting a flavorful 90s sensibility that showcased Wright on a whole different angle. And one thing he maintains in this track is his ability to be consistent while exploring other directions. His artistic merit is just as effective even when the formula changes, something not heard often in today’s market for Hip Hop. The beat on this track has an anthemic and subtle overtone that allows Wright to have plenty of breathing room to deliver his distinctive style of lyrical outbursts, giving us more of what we’ve come to know on this album while implementing new approaches as the cohesive measures play out.

One more notable track on this record is “Dusk Til Dawn (feat. Vanessa Krauss)”, a hauntingly ominous song with R&B components which diligently enhance the multi layered textures already present in the song. Vanessa Krauss vibes on this track with a hypnotic vocal melody in the chorus that really adds a multitude of flavor. Wright brings out a more low-toned vocal delivery that builds up to a climactic resolution, keeping the listener on the edge of their seat. Once again, this track is another example of the different effective angles that take place throughout the album, almost like chapters. But they are coherently structured and put together in a way similar to how puzzle pieces form the entirety of an overall picture. And that’s what we get with ‘Bandit’, many chapters and milestones with each song being the contributing factor to a collection that forms one big picture and payoff. And once it comes together, you look at in awe and come back to it time and time again to admire its presence and influence. This album will easily satisfy any Hip Hop fan whether it’s old school or new school – it has a bit of everything and never leaves a stone unturned. You can get your copy of ‘Bandit’ now on YouTube, Spotify, Apple Music, iTunes and all other digital music streaming platforms.


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Exclusive Artist Review: Richy I-Fi – “Theory Of Sound” LP

For the past 11 years, Cleveland’s Richy Wi-Fi has been hitting the ground running in the world of Hip Hop with his distinctive lyrical outbursts, insatiably powerful messages and very versatile flow. He has gained an extensive following since his inception, putting out a vast array of releases over the years which has garnered him critical acclaim and an unwavering street buzz. Now in 2021, riding the waves at the top of his game, Ricky Wi-Fi has released a full length 35-track juggernaut that fully encompasses his skills on the mic, dedication to his fan base and his willingness to showcase his artistic merit in a way that’ll leave an everlasting impression on you. And that release is ‘Theory Of Sound’.

This anthemic and multifaceted record has no shortage of hypnotic beats, nostalgic callbacks and the full musical presence that Richy encapsulates from beginning to end. From the moment this album starts, you can immediately grasp onto the wholesome signature sound that Richy has manifested and established over every previous release. His unique rhyming techniques parallel the visceral beats and he really displays an aura of passion as every track plays out its duration. One example of this formula is in the anchor single “Phone Numbers”. This song has an ambient and hypnotic beat that is innovative in its execution and well crafted in its structure. Richy utilizes two different styles of flow between the verses and distinctive chorus, serving up two wholesome flavors of delivery that showcase his skills on the mic with separate yet effective angles. It’s the perfect track for anyone that hasn’t heard Richy’s music yet and will definitely feel enticed to do a deeper dive into his discography altogether. Another track worth noting is his most recent single, “Joe Fraizer”, a more vibrant and street jazz-influence track with a 90s sensibility that really drives home the nostalgia. Richy sounds very natural on this song, delivering clear and cohesive bars that have a sense of smoothness not heard very often in today’s more modern realm. This is the type of song where you pull out the blunt, sit back and just lose your mind as the song plays out. You’ll find that place of content in no time.

Now one of the songs that definitely needs mentioning is the subtle and smooth “Theory Of The World”. A powerful track with several bars that’ll definitely get the think tank going. For example, “If God is in control, why are we making other plans?” Not only is this song another nostalgic piece of poetic justice, but also features a female vocal hook that really ties the song together in a way that enhances the visceral listening experience. Once again, Richy’s flow is flavorful, crisp and truly delivers every punchline with every ounce of effectiveness possible. This song also has diligent parallels between embracing an underground essence and implementing a more modern stylization. One never outdoes the other and throughout every hook and melody that this track conjures, you get that same dose of both originality and familiarity when it comes to Richy Wi-Fi’s signature sound.

Every track on this album serves up many defining factors and never waivers from the implementation of innovative ideas. Richy boastfully delivers line after line with wit, passion and a natural realness that tends to get lost in today’s convoluted industry. ‘Theory Of Sound’ is a nostalgic gem that fits brilliantly into today’s modern realm with its own original presence and style. It’s the type of record with staying power – where it stays with you even long after it’s over. You can get your copy now on Spotify, Apple Music, iTunes and several other digital music streaming platforms.


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Exclusive Artist Review: Mr. Anderson & Tone Da Boss – “Finally” Album/LP

Every once in awhile we run into a collaboration effort that is completely innovative and next-level. This is one of those rare moments. Comprised of songwriter/producer Kel Anderson (Mr. Anderson) and rising rapper Tone Da Boss, 8-track juggernaut ‘Finally’ is a prominent collaboration and collective project that pushes the boundaries of innovation while still embracing those very crucial musical angles that made Hip Hop the evolving genre it is today. It’s a record that dares to be different, but really knows how to balance its originality and familiarity in a way that can easily appease any Hip Hop fan and even recruit some new ones who may (or may not) have been accustomed to the versatile world of the genre.

And that’s what makes ‘Finally’ the gem it really is – it diligently combines all of these crucial angles by eclectically constructing an original catalogue of tracks that effectively showcase both collaborators all while meshing together the same elements to blend it into something dynamic and wholesome. It’s the best of many worlds brought together by two evolving artists that have the same affection for passion. Mr. Anderson boastfully compiles each track from scratch with his distinctive beat structures and a multifaceted writing style that regularly conjures up many different textures as the album plays out. Opening title track “Finally” (feat. Alisabeth von Presley & Krayzie Bone) really touches on this structure and really comes out swinging on this record from start to finish. Tone Da Boss lays down some clever bars with his distinctively charismatic vocal style that brilliantly dances between subtlety and lyrical outbursts. Feature artist Alisabeth von Presley serves up very strong melody choices in the choruses and really adds a layer of atmosphere that gives this song a soulful aura. Krayzie Bone (most known from prominent 90s group Bone Thugz N Harmony) delivers a fresh flow during his verse that is well recognized among his work with Bone Thugz. His fast and driven vocal style lends an additional energy factor to the song which gives the ominously haunting and melodic beat a dynamically visceral edge. Overall, this track sets the tone for the rest of the album and will easily get every listener to invest into the rest of what’s to come.

Another notable song is “Put Me In The Ground”, which is undoubtedly one of the catchiest tracks on the record. Tone Da Boss straight up kills it on this banger and really enhances the listening experience with the chant-worthy chorus. Mr. Anderson also shines very brightly on this track, bringing forth another atmospheric beat that brilliantly parallels Tone’s vocal delivery in a way that is effective and innovative. One more song that needs a mention is “Midwest Hyphy”, a more upbeat track with Tone Da Boss utilizing several different voices and vocal projections. This track bumps and grinds with another crafty beat structure with Mr. Anderson at the helm of its fruition. These are some of the most clever measures on the album and really puts a crucial spotlight onto Tone Da Boss’s ability as a rapper. Both collaborators on this song are at the top of their game and their ability to showcase that is made very apparent. Overall, ‘Finally’ covers more ground in 8 songs than most other artists do in their entire discography. There’s no gimmicks, no sense of rushing and Mr. Anderson’s attentiveness to detail is strongly evident throughout the album’s duration while Tone Da Boss just comes out swinging with every bar and hook he conjures.

If this is your first time hearing either one of these artists, then this gem will entice you to dive deep into both of their careers. ‘Finally’ captures the authenticity and artistic merit that every artist should have at some point in their career, but Mr. Anderson and Tone Da Boss would be a ridiculously tough act to follow if you were to go against them in that regard. They also happened to obtain it in a way that is not only innovative, but next-level altogether. This is an album you would be foolish to sleep on. You can get your copy now on Spotify, Apple Music, iTunes and several other digital music streaming platforms.


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