Maxo Kream, Prof, 1900Rugrat, Radamiz, Jody Fontaine, Maiya the Don

This is Friday to Friday, your weekly rap wrap-up, going through our favorite releases in rap and hip-hop from Friday, June 26th to Friday, July 3rd. My name is Jacob. I'm a mixing and mastering engineer from California, and your host for today. And I have with me producer and artist manager hailing from Montreal, Canada, Matt Kerier.

Yo, what's up?

As well as artist, producer, and DJ hailing from the Twin Cities, Minnesota, Terry Ve.

Yo, what's up y'all?

Before we get into talking about our favorite releases from this week, here's the full list of projects released. We got 1900 Rugrat with Fireman. Jody Fontaine with Thank You Good Night. And Andy Mineo and Wordsplayed with Magic and Bird 2. Baby Mane with Code of Honor. Bic Fizzle with Highly Favored. Beia with Bianca Deluxe. DJ Bandz and Only the Family with Laaf Familia. Fear Dorian with Tease Volume 1. Hooligan Hefs with Sixth Sense. Lil O with Laying to Walk Down B-side. MacArthur Maze with Unaltered Egos. Maiya the Don with Precious Cargo. Maxo Kream with OYN. Meekz with Mr. Can't Stop Won't Stop. Mellow Bucks with Pretty OP. Mexico Dro with Stay Down the EP. Pluto with Diary of a Young Little [expletive]. Prof with Good Time Boy. Quincy White with Chain of Command Volume 1. Radamiz with Light Man Alive. Sooso Camo with Homesick. T.I. with Kill the King. TB with 777. 23 with Sixpop. Wyclef Jean with Cleft Notes Quantum Leap Volume 1. And lastly, YoungBoy Never Broke Again with ML2. Let's get into our picks for this week. I will kick it off with Maxo Kream, OYN. So, the interesting thing about this project is it's fully produced by JPEGMAFIA. This is the first time JPEGMAFIA has ever done the production on a full project for another rapper.

Yeah. So Maxo Kream is someone that uses the same flow a lot. So it is nice and it's interesting to hear him over some different beats.

The title track, it's a straight-up trap beat, which it's cool to see like what JPEGMAFIA's take on something like that is because you could never get him to just make that and put it on his own album. Like he'd only make that to give it to another artist.

Yeah, agreed. Maxo is keeping the songs about something, which makes more sense over these different style JPEG beats than just like money flexing type bars.

So, I do like that he was actually keeping the songs focused and giving them a a story and a theme. The second half was a bit stronger for me. Fake Jeezy, again, so much straightforward trap beat, but just knowing it's JPEGMAFIA is wild because he's like showing restraint that he doesn't show in his own music. I'm listening to Fake Jeezy thinking like JPEGMAFIA could really be an A-tier trap producer if that's what he cared to do. If he was just dedicated to that, A-tier trap producer. How I'm Coming, that song, it's like the most typical beat to Maxo's usual sound but JPEG smashed it. It's so dark but has so much movement and bounce. And then the very last song was one of my favorite on there, which is How the [expletive] I'm Lucky. He's feeling like his friend disrespected him by calling him lucky. And then he spends the whole song talking about how like here's all the sacrifices I made to get where I am. How can you call me lucky? Overall, I liked it a lot. Like it was interesting to hear the production was different for Maxo, but it was different for JPEG, too, but in the way that it's more normal. It's more mainstream for him. Yeah, I liked it. What do you guys think?

One of my major takeaways from this project was just like you were saying, you have Maxo Kream on these different beats that you normally don't hear him on. And the content is good. Like the content is good. I like how he's being focused on the songs that he's writing. He's writing songs with a purpose. But like the first go around I listened to it, it was jarring in a bit because I'm not used to him rhyming on beats like that. And just like the flow just sounded like it's the same flow, but I wish on so many songs he had a bit more energy. Like the second the second go around it wasn't as bad but like all the songs he had a feature on he felt like right at home. Like Come Over is probably the least favorite out of all of the ones with the um features, is still pretty good though.

The one I cannot stand is uh This [expletive] Going On. Do you remember that one where he just, it's basically a song where he's like I'm tired of like the the stripper hoes, I want a rapper ho, and then he just names a bunch of female rappers. Yeah, I didn't.

Oh, I want to I want to hit Lotto like a pothole, and Sexy Red looks like she's good with head. What What are we doing here? (laughs)

And I just, it feels like 2026. Like I'm I'm sure, look, he's a he's a good guy. I'm sure he's on good terms with these female rappers and stuff like that, but it's just like weird.

Oh, it wasn't it wasn't for me. That song wasn't meant for me for sure.

Every era there's like a rapper that comes out with a song where he talks, or she or he talks about every industry person they want to basically [expletive]. Like it's been done, right? Like Nicki Minaj did it and like

It's a popular concept. It's just usually the writing is a little bit more than like Sexy Red looks like she gives good head, you know?

Oh, you don't like the structure of

Like (laughs) like Nicki Minaj, she made like, yeah, like Nicki had made a bar about like getting [expletive] by 50 and it was something like, oh you'll give power for an hour or something. Like I, it is a little bit more of like a songwriting, you know?

Yeah.

Like I don't know, man.

And like I've said this over the last couple episodes, I'm all for artists trying different [expletive] and getting out of their bag. So for Maxo, like this was dope, but yeah, like the first half didn't quite, like, like again it's not bad, but just like the flow just sounded so monotone over these beats and I'm all like, I wish, I feel like he left a little bit more meat on the bones. But Fake Jeezy, I love How I'm Coming. I love, I like those two records the most out of this project. The beats, the production is amazing. JPEGMAFIA, I've listened to a lot more of him this year. And he's talented, man. The dude is dope. The dude is dope. The dude's cold. So, good project for me overall. Like first half, like again, I wish he did more with his flow, but who knows? Maybe on the next project he'll take it up a little bit more. Or maybe he won't. He just stick to his bag because like on those trap songs, he just sounds right at home and that [expletive] sounds fire.

Mhm. Yeah. That's the thing is unfortunately that's that's his flow. Personally, I don't listen to him much because he's the kind of artist where you you pick your really favorite five songs and they're great and they're really solid,

But I don't need anything else other than that, cuz yeah, like the flow for the most part is very similar, but it was nice. There was a couple of times he caught like a little JPEG pocket there of like the beat being a little bit different and you heard it, but then it's like he didn't explore it when it happened. He give you like a bar that's off cadence and then like get back to

Yeah. It's like the thing that was interesting was just that it's his normal thing over a different beat and then it's like he didn't take it from there and then say like, okay, here's like me doing something weird on top of a a weird beat. It's like, no, just me doing my thing on top of a weird beat.

I wonder if he did this project in the studio with JPEG or if JPEG just sent him a bunch of beats and he worked off it like that, because I feel like if he would have got in a studio with him, I'm pretty sure JPEG would have been able to like coach him up on, you know, a little bit in terms of just like how you coming on the track, unless he just just just does not want to do it. I don't know.

If they were in a studio together, I don't know. But yeah, JPEG could have for sure been like, "Hey, there's there's some pockets here." Like

The there's a video that came up with Dr. Dre working with um Xzibit and Eve and they're just talking, just like how he stresses over people saying certain words in songs and then when they finally hit that way that he sees it, it's all like it clicks for them because like, oh man, like I didn't even hear, like I didn't even hear that pocket. So, but I like that. Like I said, any artist that that tries to um take their artistry a little bit further, I'm all here for it, man.

Yeah, it was still really cool to see despite like it not always working on every song.

Yeah.

Yeah, 100%. Yeah, right on. So, that was Maxo Kream with OYN, fully produced by JPEGMAFIA. Let's talk about Jody Fontaine with Thank You Good Night. Jody Fontaine of AG Club, but this is his solo debut album. Although, they included AG Club as a featured artist on every song, which makes that a little confusing. Probably just so that followers of AG Club won't miss it. So, I get why they did it, but I had to do some research to figure out that this actually is just a Jody Fontaine solo project. And we covered the uh single Precious earlier this year when it came out. So, I recognized that one when it came on, but pretty strong project. I was mostly just really surprised how unapologetically he switches genres from song to song. It's not super hip-hop specifically. It's pretty genre blending. R&B, experimental, indie rock, and then there's like just a trap song in there, too. So, it really moves all over the place, but doesn't feel too jarring when it switches from one to the other.

Yeah.

550 is a Diego AB beat. He's one of my favorite producers in the new West Coast scene. I've mentioned him a lot. And Jody did this like triple tracked vocal in the style of Ozzy or Peso. 550 was was an interesting one. Roaches is just the more classic trap beat. It's pretty good. I like all the vocal effects on it and just throughout the album as a whole, there's a ton of vocal pitch shifting, which is a cool way to keep the listener interested without featuring another vocalist. So, overall, it was interesting. I like the Jody Fontaine Thank You Good Night. Kind of short and sweet.

Short and sweet. A lot of different vibes on here like you were saying. Funny Face. I think that's the, what is, is that would you call that the indie rock one or like alternative rock one with the little guitar there?

Yeah. Yeah.

Yeah. Yeah. I like the vibes, man. When you sent that to the group, was like, "Yo, check this out." And just how he goes from genre to genre. Immediately I'm all like, "Bet. This is right up my alley." Cuz I like playing around with different sounds myself. So, this is my first introduction to Jody Fontaine. And this is this is pretty dope.

Yeah. We are kind of in the midst of working on a multi-genre project, the three of us and other people. But I did want to send it to the group chat to be like, you guys, here's some like research like this is this is interesting the way he's switching from one to the next. So yeah, always using the podcast to learn more about, you know, what we can do better as uh artists and producers.

Absolutely.

Yeah, you guys pretty much said everything. The only thing I will say I felt weird about was that because it's such a drastic vibe change and it's not like, you said it's not jarring, it's it's done very well. Like from the first track you're like, "Oh, okay. Okay. So, I'm, I like this is very calm, serene music." And then it picks back up and you're like, "Oh, it just felt like a speed switch kind of."

Yeah.

Which now that I've listened to it, I have my saves. I know in what order I want them. But yeah, no, it felt like it just felt like a very like really fast and not really fast. But when every song is good and every song is quality,

That's a risk you can take,

Right?

You know,

That's how he makes it work.

Yeah. And I think with eight songs, it's a nice palette to where you're not like totally just overwhelmed with like different sounds.

I even like on um 550 the um Tain Bartender, or T-Pain, Akon Bartender um sample flip, man. Um cuz those keys, like right when it came on I'm all like

I'm all like, is this Bartender? Like it sounds like Bartender and then they go into the actual Bartender beat and I'm like, yo, that shit's dope.

Yeah. Good catch. Yeah. So that is Jody Fontaine with Thank You Good Night. Next I want to talk about Prof with Good Time Boy. Prof is an interesting rapper. He's a cool rapper. He is funny but can rap for real as well. He has hella charisma and he clearly prioritizes having fun, but he'll also just kind of hit you with like a deep political message amidst the fun and jokes every once in a while. But yeah, Prof was signed to Rhymesayers for a couple albums in the 2010s. But yeah, he's doing well enough to afford some pretty great features. Like you got Tain on here, 2 Chainz, That Mexican OT, E-40, Suswaka. So some pretty great features as well. And his beat selection is so fire. They're all, they're all head bobbers. Like even when I don't love the song as a whole, sometimes his singing hooks don't work for me. Not that he has like a bad singing voice. It's just I don't really like his style of singing.

Okay.

Rap singing type stuff. Great. It's like when he does his like broad singing tone, it's just not for me. I'm not really into it.

I'm actually glad you said that because

I felt weird about it and I I didn't know how to say it because it's it's not bad singing and so it just, I feel like a terrible person for being like I don't like this even though I can tell it's not bad.

I think the thing is that the difference is that it's not off tune.

He's on tune. It's just that his uh tone, his vocal tone isn't, it's just not very pleasing on the ear for me. But

How did you guys like the singing on Impostor and um is it Garden of Eden?

Those are kind of the ones I'm talking about not being good.

Ah, I loved Impostor. (laughs)

I really liked Impostor. Yeah. Um

Okay.

And yeah, so he's he's from Minneapolis. I'm listening to it and then he's talking about like Minnesota moon and I'm all like, "Let me look this guy up." Yeah. So, like you saying, Rhymesayers like Brother Ali and all of those guys are are from um from Minneapolis. So,

It's dope to get some Minneapolis love on here.

I liked it. I kind of I kind of liked it on those two records at least.

Interesting. Yeah. Yeah. I mean, it's not like that I hate it. It's just like it's a big contrast because when he's just rapping, he has such great tone, such great delivery, so much charisma, and I love every second of it. I love the vocal takes he's getting and then the singing just a little jarring in comparison because it's just to me it's just not his strong suit, but I really love the rapping both lyrically and cadence and tone and everything. Like Ken, I'm Outside, super hype party hook, he's talking about I party with weirdos and then he's talking about like, yeah I got some weird family but you know I still party with them. Jewelry Duty, that was the one featuring Tain, T just spitting a verse. No singing over a super bouncy beat. That was cool.

And do you know if uh, sorry, does he make his own beats? Or every beat, like you said yourself, like no matter what the content of the song, like it's a it's a head bopper. It's just

Yeah.

The beat is well picked.

Oh, you know what? He's a producer. Oh [expletive]. He produced a bunch of this. Oh [expletive]. Okay. Interesting. So I did not know this. It looks like he produces a lot of his own stuff. This is news to me. That's really cool. But he also uses a producer called Ghost Town. But a lot of it is by him. So it's mostly him or Ghost Town or it looks like someone that he works with uh named Kyle CE. But yeah, I'm really glad you had me look that up, Matt, cuz it's good to know that he produces for himself.

It was weird. It's like I I didn't look at it at all, but just hearing it, there was something about the beats where I was like, it it it sounds like the person who did the project put it together, too. You know, there's like an extra love in the beats. I don't know.

No. Yeah, he produced Impostor and so I think one of the reasons like it stands out is just like you can hear the passion behind it, like the feeling that it gets from it. Like I think I was just connecting with the lyrics. Yeah. So

So if if not in love with the tone or just the sound of his voice but just like the passion and the energy you put into your music.

I like it when you can feel it, like when I heard it like I felt it. And so that like that internally, I love when an artist can do that or when an artist does that.

100%. I cannot take that away from him.

There's a certain hungriness that you kind of feel.

Yeah.

Do good or whatever. But

Yeah,

It's rare when you can actually hear it in the voice that like they want that, like that they they seriously passion.

This is a project where they're like, I'm about to come in, you know?

Yeah. It's the passion behind it. You could tell that there's a sense of care about this project. It's not something just slapped together and and turning it in and here you go. It's somebody who who's passionate about what they're doing and and is taking their time doing it. So,

And that could be because he's older, too. But, um, even, you know, even with that, though, it's it's, yeah, this was this was a dope listen. Good Time Boy. And just one of those dudes that had a lot of like ups and downs in his career. I think he stuck to it through some pretty difficult times. Like, I I remember a a Sway interview where he was basically having to like legitimize himself in front of Sway and be like, "No, I'm I'm actually a professional rapper. This is my full-time job." Like (laughs) he was kind of like being like like I'm actually a rapper guys, and this was like 2018 or something like that. So,

Okay,

He really blew up huge like post pandemic to where he's like bigger than, I think he's benefited a lot from like the streaming era and I think he's kind of coming into his own now even though he's personally older but just getting getting better and better. I I think this is one of those artists that he's just working hard, trying to get better,

Pouring into the craft. Yeah.

Yeah.

And a quick note, too, is the the curation. Like I find this year especially, we've we've heard a lot of big studio albums, big label albums that were boring and just didn't sound good. Like this project, right? These beats are all so stand out that you know that he had 100 beats for the 10 really good ones that he kept, right? And so you hear that curation, which is something that big labels suck at. So that's that's really impressive for him to have, cuz there's there's no there's no skips really on the album. Like there's even like the ones where we didn't like the singing too much, I wasn't like, "Oh, this is like I need to skip this," you know,

Cringe or anything. Yeah.

And so like to be indie and to have a fully well-curated album, that's a rare thing.

Yeah, man.

Yeah. And I think it sold okay. I think it did pretty decent uh week one. So congrats to Prof. Hey, shout out to independent artists. I also wanted to shout out the song Kia Boy has a super fun mariachi band horn line. Hella fun. So many fun beats. Such such a great uh producer. I mean, I thought he was just a great beat selector, but hey, he's a great producer. Awesome. Also, Destiny featuring Suswaka. I just love Suswaka. Them two together just makes sense. The track really worked. Strong project. Yeah, we we we enjoyed it. Prof with Good Time Boy. All right, let's talk about something that I don't think all of us like. Let's talk about 1900 Rugrat with Fireman. Wow, this is hilarious. I had to cover this based off the name alone. Before Drake's Iceman came out, we were joking about all the memes about Kendrick dropping on top of Iceman with an album called Fireman. And then bro actually called his album that.

But it samples uh Fireman by Lil Wayne, which is like right away the second I heard that as the first track, like, like Fireman used to be my, like I know the whole music video. Like that used to be my my [expletive]. And so like for me to hear that I was like, yes. And then he starts rapping. (laughs)

Yeah. 1900 had an acquired taste.

Yeah. But I will say though, I I actually I looked at the lyrics cuz whenever there's someone that I don't enjoy their cadence and their flow,

Yeah.

I wanted to give a chance to the writing to see if maybe behind the annoyance of the cadence, there's some bars that I'm I'm missing, right? And for the most part, he he does say some pretty good bars, some pretty funny bars, but it's hard to catch them because the cadence is so like thrown bars that it's like this beat is fire, but like what?

Yeah. A lot of

You spitting at me like (laughs)

Yeah, a lot of that was that was my listening experience for what I was able to get through. I I I couldn't get past the flow, man. I I wanted to, I I couldn't. It just wasn't palatable for me. It just wasn't palatable. I couldn't I couldn't, man.

And it's like he's on beat and everything, but he does that flow where every single second of a bar is taken. It's too much. It's too much.

I don't know if it's nasally, you could say, but his voice is like, yeah,

Like it's got like a weird (laughs)

It's got a weird tone to it, but the beats.

But no, the beats are fire. Hey, the beats are fire.

Yeah, for me it's completely dependent on the beat. There's no songs I'm in it for the vocals.

Could you hear Maxo Kream over this? Do you think Maxo Kream would have would have slaughtered this project?

Oh, that's

Yeah, cuz most like these beats are all very like, I don't want to say easy to rap on, but like they're all proper beats. They're all very

I would rather heard anyone over any of these beats cuz they're all great beats,

But for some reason 1900 Rugrat got them. That being said, like some of the beats were so good that I still like really enjoyed the songs. Like um Every Season, Every Season has this like ponderous melody that moved between sad and beautiful over their like dark drug and street lyrics. It's just kind of made sense. Created like an interesting vibe environment. Dance Cracker, I was I was a dancing cracker to this song from jump. Head bobber for sure. 100 Bulls, just an ignorant beat. I love it so much. But yeah, I was definitely like basically what would happen is I'd put a song on and be like, "Ooh, yeah. Yeah, yeah." And then like

He doesn't rap for the first like

Yeah.

He he waits before going in.

Yeah. But by the end of the song I'm like, "Okay, okay. This, the beat has to be really good for me to, you know, playlist it because got to get past how how annoying his voice can be.

Yeah. Where it's like beat plays. All right, this good, and then he start rapping. I like (laughs)

He sounds like the kind of guy that really doesn't care if I say that I don't like his rapping. He sounds like genuinely honestly that's kind of what he's aiming for is to, he knows that beats are good and he he sounds very self-aware and it sounds like he's just like, "Hey, here's fire beats. Enjoy. I don't give a shit."

Right.

Yeah.

Yeah. And it works because he has he has a fan base. I'm just saying for me it's just not palatable. It's just not palatable for me. That's that's where that's where I land with it.

Yeah. And I think a lot of people are on board with that. He's he's pretty polarizing.

And look, it was enough for all three of us to listen. And hey, if it makes you money, that's a beautiful thing.

Get your bag. Get your bag. (laughs)

Yeah, he's doing his thing, you know. Interesting project. Some uh some fire beats, but not a big fan of Fireman. That's 1900 Rugrat with Fireman. Uh let's talk about Maiya the Don with Precious Cargo. We got one feature only from Kai Cash, which was cool. She carried a 45-minute project. So yeah, some good [expletive] on here.

Yeah, perfect mix of some hood [expletive], some fun [expletive], a lot of [expletive] for the girls. Like it started off strong and then like 10 Boys, Miss Irresponsible, Ma's Workout Plan. I was all like, so this project probably isn't for me. Then um (laughs) Weak [expletive] Tendencies came on and I'm like, yo this is another slap. TSA Freestyle came on and like she she bodied that and then like from then on out like the rest of the project was was amazing. Too much. The Kai Cash feature was dope. Annie had me where she's talking about growing up with her mom and just like her personal experience like that love-hate relationship she has for her mom was um was dope. This is my first time hearing about Maiya the Don. Again, like Friday to Friday, I'm finding dope artists and dope music. Man,

Every week we'll find something new that we've never heard before that we love. Yeah. This was my first project from her as well and I liked it. Yeah.

Yeah. She's spitting throughout this project. She has she has bars. I think, like you said, she gave a little bit of something for everybody. She gave something for the girls. She gave something for the people who love lyrics, who love bars and love hip-hop. Like even the beats, like from the beat selection. She has trap stuff, but she also has some boom bap. She did her thing, man. That on Weak [expletive] Tendencies was crazy, though. I heard that [expletive], I had to play that back a couple of times. That [expletive] was crazy.

Anyways, that's that's Maiya the Don with Precious Cargo. I want to talk about a really special project from this week by an artist called Radamiz called Light Man Alive. I had the chance to chat with him a bit over DM and ask him some questions I had about this project, which I'm glad I did because there's some interesting context to this release. It's a reimagining of his 2025 album, Light Man, the album, with the songs reinterpreted with all live musicians in the studio. And there's no drums on any of the songs, but it's perfect. It makes for a really relaxing listening experience, like being in like a jazz lounge or something. But I wanted to read a quote from him that he sent me. He said, "It was inspired by feeling not finished with the album after we recorded and released it. I learned so much more about the songs performing them and having had the urge to go in and make something completely with live musicians as opposed to working with someone to finish records. Fully trusting that if we're in the studio together with a blueprint, we'd get it done. We recorded 15 tracks in 30 hours, six five-hour sessions, a truly special time." Um, and you can tell like it comes across like this is people in a studio together figuring it out. And this gets the no skips stamp of approval from me. It's great, A to Z. Uh, Radamiz pours his soul out on these tracks in a masterful way. Love hearing real lyricism over real instruments. So, big ups Radamiz for Light Man Alive. I was a really big fan of this project.

Just hearing him talk about again, like we were saying earlier, like the passion and they have to do it all live instrumentation style with no drums. I

Yeah, man. Clap for him.

And so when you say it's a reimagining, is it like did they re-record the vocals or they just kept all the a cappellas and

Figured out the vocals, and basically he uses the same lyrics but it's re-recorded and

So the flow must be even different if it's

A little bit different. I did have the chance to go back and listen to the original and compare them to the new one in a couple of instances. And uh there's features added that aren't on the original and it's in a different order and it's very mixed up, but it's sort of like got the DNA of the original and the lyrics of the original, but with all the beats are reinterpreted. They're not like a band trying to make that exact beat just replicated. It's like they're they're feeling it out in real time to make something like new and special and uh it just has a similar sort of vibe to the original. And then the vocal takes I think were stronger on this than on the original album too.

Yeah, that's a that's a big risk sometimes trying to catch lightning in the bottle again, man. But for it to come back stronger. Is the original album still on Spotify to compare them back and forth?

It is. Yeah, you can check it out. It's from 2025. It's called Light Man, the album. And then this one is called Light Man Alive. But they're both good. This is just like special, like the, you don't get often everyone in a room together making music feel in hip-hop and that's what makes this one so special.

Interested to hear how the cadence or the flow was changed to really like work with the new like instruments, which if everything was done live technically should even sound more cohesive than

It does. That's exactly what it is. It's like on the, when I compare it to the original, there's nothing wrong with the original, but there's a cohesion to the live one where it's like glue, like they're just locked in

Cuz it's different, like rapping over beats versus you're not rapping, like your voice is an instrument part of a band all performing together.

And the fact that there's no drums, they had to use other instruments to keep time. So you you really get a sense of rhythm from the rest of the instruments. And that's really cool, too, cuz you can still like bob your head to it even with no drums. It's It's really cool. The original album was still like 70% no drums, but this one 100% no drums.

Okay. Yeah. And sometimes that can be freeing as an artist because like the drums are there to kind of keep you onto the beat. And however you flow onto, how you flow on it. But without that steady rhythm, you're kind of free. Cuz I've done that with songs that I've rapped over with no drums and then I throw drums on them and then I have to redo it to take over again because it just doesn't fit with the timing and how you have it. But yeah,

Yeah,

That sounds, that impressive.

The beauty of music, man. This [expletive] is this [expletive] is amazing. This is dope.

And I feel like for all the good music that we heard this year, there's there's not much music that we talk about that is hard to execute music, like difficult.

That's true. And this one does sound like there's like a certain difficulty, but it it sounds like it was fun.

Yeah, it's like a level of musicianship.

Yeah. Yeah, that's a good point. Cool. Yeah. Um, that's Radamiz with Light Man Alive. Definitely check it out. Let's get into a couple singles. We got some interesting singles with summer coming up. We got tons of albums coming up. Coming up soon here is Future, The Real Me, dropping July 10th. So, we got our first single off that this week with the song just called Radio. And you have sort of an ironic hook of Future talking about whether or not the song is for the radio. I actually liked it. I liked it. It was a good song. It wasn't surprising or anything, but it did give me a sense of, you know, what's to come with the album. So, looking forward to The Real Me dropping July 10th.

Yeah, Future singles tend to be very very, I find, hit or miss. And I I find Future the kind of person that tests the waters with with sounds. And I'm not saying he's a polarizing guy, but there has been albums where, you know, people will call garbage and other people will say, "No, this is actually one of the best Future albums." And so, but this song was very very normal, if that makes sense. Like it was it was good.

This was not risky. This was just a good song.

Yeah.

Yep.

It didn't blow me away. It was cool. Like, yeah. It was cool.

Yeah. Yeah, I mean it it's cool. I mostly just bring it up to to talk about the upcoming album uh July 10th.

I'm pretty sure you got some [expletive] to say.

A Future album will usually give me a really good surprising save. And it's always, Future has albums where 90% of it is is Future being Future and then all of a sudden there's something that is completely unusual, just random as hell and those tend to be my my saves usually.

Oh, cool.

So if I can get that I'm happy.

Cool.

So that's Future with the Radio single. Last thing we're going to talk about this week is Czarface and Frankie Pulitzer with the Brothers Grim single. So guess what I learned this week? Frankie Pulitzer is actor Tom Hardy. This is his rapping moniker that he uses, that he's secretly using since like 2017. And uh I just learned about this this week after having listened to this song already like five times and broken. Spit. I was I was surprised. I think that the hypeness of it being Tom Hardy, I had seen before that he was releasing stuff, but there's just something about a Hollywood actor releasing music where I'm like, eh, you know, pretty ignorable. So I pressed play on it and I was like, yo, what? Okay. Like that was impressive.

How, y'all talking about Tom Hardy? How he spitting, man? I got I got to hear Venom rap, man.

Yeah,

I got to hear it.

And I forgot to mention, too, so this is from an upcoming album called Czarface Meets Frankie Pulitzer. So Tom Hardy is going to be on every song on this album, and he's been featured on Czarface albums, but he's never had a full-length project before. So this is coming out August 28th. It's called Czarface Meets Frankie Pulitzer. So that's going to be exciting to hear just a full album of of the three of them.

That's dope. I can't wait to check it out.

And then now that I'm looking at, I guess what they released back in 2017, Good Guys, Bad Guys, Frankie Pulitzer is on here and there's like the cover of Carnage fighting Venom with Tom Hardy famously playing Venom. So this is, that's actually dope.

That's dope. I'm going to check it out, man.

That must have been like 2017. What was that? That was like the year the first Venom came out. Like let me look it up. 2018.

2018. Yeah,

It was before.

Oh, that's crazy.

That's crazy. So, okay. So that's, so that song, so he must have known he would, he must have been casted probably already for Venom, knew he was going to play it. So that was like

An Easter egg on top of an Easter egg. Like you would have to know in 2017 that Frankie Pulitzer is Tom Hardy.

And if you knew that then you see the cover art Venom versus Carnage and then the next year Venom comes out. Dude, that's crazy.

That's dope.

That's crazy.

That's dope. Okay, Tom. Okay, I'm going to have to see, man. I had to put some respect on your name.

Oh, and also we, I mean we've been talking about like how amazing the rapping is and everything. The beat was good.

True.

That was that was a good beat.

Absolutely.

Good [expletive]. Well, that is Czarface and Frankie Pulitzer with the Brothers Grim single off the upcoming album coming out August 28th. That is all our releases from this week. Let's get into plugs. This week I mixed and mastered a track for an artist named Killer Tracks. Uh that's going to be coming out soon. And besides that, you can just check out our beats at frequencyoverflow.com and follow us everywhere at Frequency Overflow. What do you want to plug, Matt?

Follow me at Matt Kerier. I've just been working on putting together music with uh my artist Lucius Pete Thundercat. You can check him out. Yeah, just working on music. That's that's definitely been uh very productive lately.

What about you, Terry?

I've been working on a video for a single that I have coming out next week, July 10th. I've been working alongside with this dope engineer, Frequency Overflow um and also um with the artist manager. So, it's been really helpful to working out with these guys. Maybe you guys know him. Um and then I also have a record that's coming out tomorrow, Chance, that won't be on DSPs, but will be on my socials and my website, which you can follow me at yoV on all my socials. And then the website is www.officialkingindustry.com. official kingindustry.com.

Awesome. I want to shout out to that song Chance that's coming out tomorrow. That is how Terry and I, well, it's not how we met, but it's the first thing we ever worked on together. I I mixed that first, the first version of it for you like, I don't know, a year ago. And so, it's cool that

Oh, really? We, that's crazy.

Yeah. It's cool that, you know, we man gotten to work together so much more since then. And, you know, now we got a lot of [expletive] in the works. Well, that was plugs. Releases coming up next week. We have PS Hit Squad with Life on License, Ken Carson with Experiment, and La Reezy with Skittle Bandana. Thank you listeners. Like and subscribe on YouTube, rate us five stars on Spotify and Apple Podcast. You can follow the podcast on Instagram, Friday to Friday podcast. You can save the F2F Spotify playlist to follow along with what we're listening to throughout the week. You can find that link in the description. Our intro and outro music by Lunar G. Find him at prod.by.lunar.g. Podcast edited by me, Jacob from Frequency Overflow. And you can join us every week to stay in tune with hip-hop releases from Friday to Friday. Peace. Peace.