Chris Brown Debuts New Video for “Liquor/Zero”

Chris Brown has finally liberated his newest music video, a 9-minute short film for his latest single, “Liquor,” and a new record, “Zero.”

The video starts off with Brown in a bar having a drink alone, but he’s later given a drink by a beautiful woman that changes his entire night. Brown returns home, but before he can reach his door his clothes and personal belongings are being thrown out onto the street, which seamlessly takes you into “Zero,” a brand new record from Brown, who just wrapped up his star-studded One Hell Of a Nite tour this weekend, and is prepping his new album, Royalty, for a 4th quarter release.

King Jut

#PeepTheVisual Billy B – That’s A Fact Feat. Kaimikaze Kai & Tray Pizzy

Brooklyn knows what it takes to be bad ass, no Pro Era. Produced by Brick Squad’s 808 Mafia, Billy Badass unveils her “promising” freshman look, Buck 50, on  Hot New Hip Hop among others, providing summer bangers like “That’s A Fact, Feat. New York emerging talents Kaimikaze Kai and Tray Pizzy,” for her growing online fan base.

Listen above & Subscribe: Billy B’s “That’s A Fact Feat. Kaimikaze Kai and Tray Pizzy! (Directed by @SYDNEYBLACKWATER) and make sure you check out her latest interview to see her softer side on The Nene Show . 

Instagram: @THCBillyB

Twitter: @BillyBTHC

Youtube: BillyBaddassEnt

#PeepTheVisual: Slim Sky View Presents – ‘The Walking Dead’

Straight outta Bedstuy, Brooklyn, Slim Sky View, is back with the visual to his latest single “The Walking Dead”. The young boy is definitely talking that ish and with hard hitting production by SterCity, he consisely goes in and lets off on every scrub who doesn’t live what they claim. Slim has the instinctive ability to motivate the listener with a crystal clear tone of voice and pitch that without a doubt, proves that he is unruffled and here to stay.

Armed with the knowledge and experience passed down from hip hop icons, he mixes an engaging personality, voice and sound that is all his own. SLIM prides himself on blend-ing “retro” vintage styles with Main-Stream Hip-Hop and Neo Soul creating a mastery infu-sion for the music lover’s ears. The BK dweller is certainly making a big impact on everyone he comes across and shares his soul with. “The Walking Dead” was recently given the spotlight on New York City infamous urban radio stations Hot 97 and 105.1 FM. This could be the next Brooklyn Banger so keep an ear out and support the kid!

The zombies in the video look dope in a creepy way, and I’m diggin the cars and concept as well. Peep the visual and give us your thoughts.

Twitter / IG : @slimskyview

New Music: Matthew Schultz Presents “We own The Night” Feat. Jim Jones

Hailing from New Jersey, Matthew Schultz is making big waves in the music industry with his first single “Money or Me” creating a huge impact. This track, which melded hip-hop with a rock element, was produced by Armando Guarnera and earned him a nomination at the 2013 EOTM Awards, as well as one for Best New Male Artist. In a short time he has accumulated a huge fanbase and is currently at the top of the charts on Reverbnation.

However, he’s no newcomer to the industry, having played guitar in Chris Daughtry’s first band, and then venturing into other areas of the entertainment industry, landing a role on Real Housewives of New Jersey, along with several films. Now having returned to his musical roots with the very successful song releases Money or Me and Crazy Heart, “We Own The Night” looks set to be a surefire smash as well.

 Jim Jones, is an American rapper and actor featured on VH1 Love & Hip Hop and Chrissy & Mr. Jones. He is an original member of hip hop collective The Diplomats also known as “Dipset”. Jones is also a noted video director under the name Capo for artists including: Cam’ron, Remy Ma, and State Property. Jim is known worldwide for his talent and considered a legend in the hip-hop game!

Keep up with Matthew Schultz on Social Media:

#MUSICMONDAYS: Kadeem King & Tray Pizzy Link Up to Present “The New Classic” (Visual)

Delivering that dope on a Monday afternoon… Continue reading #MUSICMONDAYS: Kadeem King & Tray Pizzy Link Up to Present “The New Classic” (Visual)

“All I can say is Expect the Unexpected…” Catching Up With Roscoe Dash

Turn up originator and club banger crooner Roscoe Dash took over the airwaves of 2011-2012 with a steady stream of anthems that transformed your local strip club into a movie, ultimately landing him coveted accolades and acclaim.  But after a few industry power struggles and turmoil Dash disappeared in the blur of the fast life.  After re-evaluating, rebuilding, refocusing and completing his highly anticipated Dash Effect 2 mixtape, Roscoe is ready to once again take over your ears and airwaves. I recently got a chance to catch up with the artist to discuss his new perspective, production company, and project. Check the convo.

Def Soul: Peace Power Positivity, How you doing, Whats been going on with you? Been taking a little time off rebuilding?

Roscoe Dash: Yeah There was a few things I had to get worked out. One being a contractual situation from when I first came out with “All the way Turnt Up”. I was tied into a real shady deal.  I had to get it together so I didn’t have to many people getting a piece they weren’t supposed to get a piece of.  I didn’t want to end up as one of these famous entertainers tied into a 360 deal, famous but broke.  I couldn’t go that route I felt I was way to talented for that.  So I took a step back revamped myself and took advantage of the time.  I got my contractual stuff together, took a break, took vocal lessons, producing. I’ve got my own production company now, a couple of artists I’m working on, working on multiple projects, including my album.

DS: That’s a Lot! It’s great to see you refocused. Im excited. Being one of the trendsetters of the term Turn(t) Up.  How do you feel about the turn up movement and the evolution its taken from then until now?

RD: Im proud, it really means a lot to me to be the start of something that has evolved so much. The energy and culture of the movement traveled so rapidly, to be magnified so much is epic, it lets me know anybody can come up with anything thats something.  I really felt it when I saw  Kevin hart , Lil’ Wayne and a lot of different people I grew up watching using it. Even today with trap music everybody is turning up. You might hear different terms but everything is an extension.  Were all one person. It’s a recreative process. It keeps recreating itself and evolving into something different. To be a part of that time period is dope to me.

DS: In the course of your growth from your beginnings till now what do you feel has influenced your sound and music?

RD: I was rapping before I was singing, thats the crazy thing about it.  For singing to have taken the forefront gives me way more extra room to smack people with whole bunch of dopeness. Thats why I choose to go with “Catch A Body” first because its not like your typical Roscoe hook. Its nothing like “Marvin Gaye and Shardinay” its nothing like “No hands.”  This is just me taking a different approach to what I’ve been doing before, which is giving people something worth pioneering and paving the way for people to be creative and expressive and be aware at the same time.  “Catch A Body” isn’t  about the surface level term it could be perceived as. Its more about raising awareness and allowing people to be free.  Being more aware of our surroundings and and the way things are going on in society, because we are growing up in a manipulative society, where were not supposed to win.

DS: No doubt I  really like that single. The beat surprised me it was very hypnotizing against the content. As afar as production goes on this next project who can we expect to be on it?

RD: All I can say is expect the unexpected.  I’m really excited about it, I have a lot of dope producers I’ve been working with. Just to give you a rundown of just a couple, Warren Campbell who worked on Kanye’s Graduation and College Dropout, Flostradamus, and Nottz, just different producers people wouldn’t expect me to work with.  Im all over the place incorporating live instrumentation.  Right now I’m in LA working with as many dope people I come across.  I’m really just stepping out and puttingg together an overall project.

DS: I know you have a history with Waka, Wale and Big Sean what kind of collaborations can we expect?

RD: Ive got a couple of different people.  Ive been working on this project on and off for really 2 and half years.  Its really going to make up for all the lost time and allow people to get enough of me to understand.  A lot of the records are gonna be just me, I also have  records with Juvenile, another record with Waka and Jazzy Phae. Its a lot of different people.  I got a lot of features but its not about over saturating. Its the fact that I have collaborative efforts and I’s still delivering.

DS: Taking a look at the industry and the amount friction between songwriters, ghost writers and artists.  Being a highly acclaimed song writer and working with some of the best in hip hop how prevalent so you feel ghost writing is in the industry and how much of a part does it play?

RD:  Ima put it like this when I work with Kanye I never was like I wrote a 100% of this record or this was really me, it was a collaborative effort.  Thats how I felt with the whole Meek Mill, Drake thing.  with Quentin Miller coming out and saying he was never a ghostwriter, at the end of the day its a collaborative effort. That man [Drake] took than man [QM] out of that situation and helped  him be in a better situation. If theres no future understanding to know that were both here for a greater purpose, thats bigger than both of us as individuals then what are we doing this for, you might as well not even take the opportunity.  There are some people to prideful to understand music is a collaborative effort. If your making music for yourself by all means make all your own beats write all your own lyrics do all that shit but if your making music for the consumer, you haven’t lived the same life experiences everyone else on the face of this earth has lived so its important to get other opinions and perspective to make those records what they are for the people who support you, who lift you up to be in the position you in now, to be honest with you.

DS: Preach on it. Real s#!t. You talked about your production company? Tell me more about it…

RD: Its called Dreamers Republic. I was inspired to start this production company for a lot of different reasons.  I spent a lot of time on Interscope’s roster, even though Interscope and I never had any type of fall out what I noticed was that my staff would always get switched around a lot. For me it’s bout keeping a family in place in and having people who will go balls to the wall for you no matter what.  I done grew up in a bunch of different situations with my family and no matter how many fights we got into when it’s time for one of us to be in distress and we need some help and someone to lean on we always got that no matter what. That’s the difference between family and someone getting paid. I just wanted it to be a more comfortable situation for me and everybody involved and a fair opportunity for everybody. I feel with all the stuff I’ve gone thru I can help different people not make the same mistake.  Its really not about the money or things that would drive other people it’s a about making dope music and making the world a better place.

DS: When can expect the dash effect to to come out?

RD: It’s gonna come out in three parts. The first part is going to to drop in the 2nd or 3rd week in August. With the each part dropping every 3-4 weeks after that.

DS: I gotta ask… I’m a huge Marvin Gaye fan when I heard the Marvin Gaye and Shardinay” joint it became one of my favorites that year, are you fan?

RD: What’s crazy is every time I plug my phone up to the car or whatever “Marvin Gaye “After the Dance” comes on.  Every time like religiously. I grew up listening to a lot of people like that Cody Chestnut, Luther van Dross, Gerald Lavert. I grew up to a lot of different things, when I had the opportunity to make “Marvin Gaye and Shardinay’ it was easy to put those words together and put the vibe together of the song. It wasn’t necessary what I was saying but the vibe of the record that was most important. The shit that we were made off of. That’s what makes me passionate about that style of music. I know my dad was nasty I got five brothers and sisters so It’s in my blood. I’m definitely a Marvin Gaye fan.


Def Soul (@DefSoulNJ)



#PeepTheVisual: E Reign Delivers the Realness on His Latest Single “Need More”

Prepping his debut on the hip-hop scene, rapper, E-Reign has released his newest single “Need More” to introduce his brand to a wider audience, touch the soul, and promote the realness. “Need More” is a flurry of hi-hats and snares, a soulful sample chorus, and wavy synths that create a New York vibe (something the rapper feels many artists from his city are afraid to stand behind) and a go-and-get-it attitude to match, brought on by E-Reign’s desire to further his craft and build his empire.

In addition, the single serves to uplift the members of the community and encourage them to constantly strive for more, no matter how much they have already accomplished.

Check out the video above and feel free to give us your thoughts.

Keep up with E-Reign on social media


Watch the New Visual for “GOOD GOD” by The XIVTH

Miami based rappers, The XIVTH, release what will for sure be a controversial video to the single “Good God”, prod. by Roca Beats, on their latest self titled EP, THE XIVTH. The exaggerated interpretation of their views on religion and life will definitely turn heads.  The XIVTH use an actual church as the setting, displaying blasphemous signs of rebellion and a unique take on their perception of the modern day church, politics, and the current events surrounding religion.

This LCP FILMS production, directed by FRANTIK THE GOD, takes a straight forward approach at this sure to be talked about video, giving the viewer a blatant display of what some would call borderline occult worship. The song itself also gives you a taste of their lyrical abilities and artistic capacity with its melodic rhythms, synthesized sounds and harmonious yet hard hitting flow. Heavy bass patterns and charismatic delivery also compliment the musical integrity of what “Good God” brings to it’s listeners.

Check out the video above, and give us your thoughts.