Back again with a fresh batch of local hip-hop, the first crop of 2014. This installment of That's a Rap is dominated by club anthems set on partying up for the new year: Capo Coleone starts off with a big house party, G-Slick offers interesting production on a new cut featuring Dzo, Lkeys delivers another club banger and Yung June gives the streets a party track. Keep reading to see what's good.
Capo Coleone featuring Meech & Mac Veli - "100 S.H.O.T.S." The production on this track is aimed directly at the clubs and it serves the purpose well with a popping synths and an occasional bass drop. Capo Coleone (aka Il Capo) runs the chorus with a touch of aggressive lyricism. Mac Veli and Meech feature on the track, and both fit well with completely different tones in their voices, giving the track balance. The big house party theme of the video gives it a throwback kind of feel.
G-Slick featuring Dzo - "In the Sky" Denver's newest signee to legendary Rap-a-lot Records drops a new song with Dzo, a catchy uptempo track with interesting production. The beat starts with a clap and a metal drum before G-Slick drops in with the chorus. Slick's voice is identifiable and sleek, and on this particular joint, he rides the beat with a flowing type of rhyme scheme. Dzo, a longtime collaborator with Slick who adds some dope bars with his signature raspy voice, is a fitting feature for this track.
Lkeys - "DTF" Lkeys has a knack for dropping club tracks layered with sexual innuendo and hard punch-lines, and this cut keeps true to that blueprint. The beat is simplistic, but Lkeys is the highlight of the song, which centers on how good his game is with punchlines like, "She a Flo-rida/She love to go low/Shorty go/No candles but shorty blow." This track is pure unadulterated entertainment.
Yung June featuring Pom - "Turn Down" Although the song's emphasis is on the party life, the production, rhyme schemes and feel are completely trap style. June's lyrics are not going to impress any classic hip-hop fans, but they certainly fit the structure of the song, and his delivery and confidence are the best attributes of his D-boy style. The bass on the production is layered with big horns, as a bubbling crystal-like synthesizer occasionally chimes in, giving the song a Top 40 sound.
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