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Blaqbonez Settles into His True Form with ‘Young Preacher’s’ Hedonistic Gospel.

One thing about Blaqbonez is, his music and style may not be for everyone but you cannot deny his genius. Emeka the stallion is an honest pimp. While most playboys and f**kboys wallow in denial, Blaq has never been shy to admit that his hedonistic approach to love and relationships asides stemming from evolutionary animalistic human tendencies, also has roots in past trauma and is just a defensive mechanism to avoid future heartbreak or as the Nigerians call it… ”Breakfast.”

Blaqbonez set out to make a worthy sequel to 2021’s ‘Love>Sex’ and that, he achieved, also settling into the most authentic we have ever heard Emeka and stretching the possibilities of his creativity beyond what the fans and critics already perceive of his artistry.

Blaqbonez attains Super Saiyan status on this project by rapping more than he ever has on a project since 2018, one would think that he set out to prove that he can join the league of Nigerian legends who dropped rap projects that were also as commercially viable as pop records like Olamide, Ice Prince, Falz, MI Abaga etc.

In the words of Drake ”rap albums doing numbers like it’s pop…”

Furthermore, Blaq brings his pen to the party but leaves some of the autotune from ‘Sex>Love‘ at home, taking on more complex melodies and hooks by himself (with a little help from Oxlade background vocals) and shows that he’s been working on his singing.

Young Preacher is by far Blaq’s most experimental work and his most honest work since he broke into the mainstream.

Blaqbonez albeit being a typical Yoruba demon (Emeka is Igbo by the way), Femi named Lagos bachelor with the libido of a rug rat and the commitment issues of a white girl from Alabama. At the same time, the second testament of his hedonistic gospel is rooted in truth and honesty. More accurately, his truth, his honesty.

Just like on the last album, Young Preacher is curtain called by a trap song fully celebrating his hedonism. The mellow trap title track introduces us to the latest of Blaq’s dozens of alter-egos ‘Young Preacher.’ Blaq explains that though he’s against marriage he believes in the sanctity of fatherhood, a weird concept to speak about while checking the list of female body types in his body count.

A radio talk show aside accompanies certain songs acting as either intros or outros explaining the concepts of their parent track.

‘Hot Boy’ is a bass guitar-laced galala and late mix which could easily host a Santi verse.

”One song on the album could be about your girlfriend’ Blaq spits as he goes on to describe graphically his lustful thoughts towards Nigerian female celebrities like Nancy Isime and Diana Eneje. The Preacher connects his hedonism to childhood trauma and abandonment issues. At this point on the album, Blaqbonez is mostly rapping which is a very brave thing to do.

Turns out he was warming up for the magical, falsetto-laced, infectious hook by Lojay on ‘Whistle’, which can easily compete for hook of the year in the Nigerian music scene. Ruger would settle easily on this song too.

One could imagine this track as a re-enactment of last year’s ‘Bling’ with Amaarae and BNXN fka Buju, but it still sounds fresh and present.

Interpolating a Zinoleesky flow while referencing his sex playlist which includes Santi when dealing Alte girls and the Marlian Records artist when dealing with Trenches thots. The track blur the line between groupie and anti-groupie anthem.

Employing the multiple choral voices on hooks techniques popularized by Asake, but like with everything else on the album, minimalism is Blaq’s watchword.

The lead single and standout track, Jae5 produced ‘Back in Uni’ is next and falls perfectly into the transition of tracks. An unapologetic confessional of some sort about all the hearts he has left to hyenas and vultures in Lekki. Definitely a contender for the best song on the project.

The gospel takes a detour to chronicle pride in living within one’s means and investing smartly ”i’d rather put a mill in crypto, name brands don’t guarantee drip tho” he raps proudly on ‘Fake Nikes,’ another standout track with some help from SA rapper Blxckie and penthouse rapper Cheque. Blaq kept the features mostly hip hop too, another big risk that paid off and keeps the sound cohesive and unique from 80% of what’s in the mainstream Nigerian market.

The production on the tape is as unique and fresh as it is catchy and replay worthy as displayed on ‘Ring Ring’ and also as experimental as can be on Paul Play sample laced ‘Loyalty.’

Blaq impresses and taps into his R&B bag to carry what’s probably the melodic and sing-songy performance of his career, more impressively with minimal autotune. ‘Loyalty’ gives ‘Back in uni’ a strong run for best song on the tape.

The next track is the stoner girls’ anthem interlude ‘She Like Igbo’ ending with a funny skit, glad to see Blaq move his IG comic antics to spice up his music too.

Blaq channels his inner Burna Boy on Tekno assisted ‘Ess Mama’ and a standout performance by Bien of Sauti Sol and Takura on ‘Mazoe.’ Oxlade’s Backups spice up the celebratory ‘Star Life,’ which also chronicles the lonely side of celebrity life.

Again preaching the sex-fiends gospel powered by a lack of genuine connections due to past trauma.

With perfect transitioning, Blaq ends the tracklist from where he started on trap/rap songs ‘Back on BS’ and ‘ I’d Be Waiting.’

‘Shorty told me love is the highest vibration I told her I disagree’ he raps on the former as he woes a girl to cheat on her man with him, situations have never been more artsy and romanticized, the mellow vibes transition into the acoustic outro, which leads to Asa’s ‘I’ll Be Waiting’ sampled unto Blaq rapping about his successes and taking dumps on rappers like a hobby.

‘I sold out MO park no rapper can do that,’ ‘three top 10s I did it solo,’ ‘when they want to drop they go on my page to find something to copy.’ Now that’s a flex.

Flexing on ladies, flexing on rappers. The album bows us out with a rags to riches skit of a voice presumably Emeka’s mother’s.

The risk to rap more and use beats that cannot be easily categorized into Afrobeats or Afropop, keeping the features mostly rappers, minimalism in lyrics and performance, trusting more in his vocal abilities than Autotune all paid off.

Few things like the lacklustre Tekno verse, shortlived Cheque verse unlike the last tape where Psycho YP, AQ etc gave him a run for his money and Blxckie‘ ostensibly out-of-theme verse set the album back from a solid 10/10 performance,

Young Preacher is not the banger-filled classic that the last tape was but is Blaqbonez in his most confident and rawest form, the lack of bangers one can say is on purpose as he also took the risk to leave ‘Commander‘ off the album, in an era where Fireboy used ‘Peru’ to stat pad streams for ‘Playboy’ and Ckay used ‘Love Nwantinti’ from 2019, with a thousand remixes to statpad streams for ‘Sad Romance.’

On ‘Young Preacher’ Blaq does not mirror the poetry of Fireboy, the melodies of Rema, the hums of Ckay, nor the falsetto of Oxlade (via Autotune). Instead he brings rap Blaqbonez into a marriage with Mr. Boombastic and gives us a ragga, Alte-inspired Afro-rap album that sounds fresh and unique enough for us to bear listening to the same theme from the last tape without burning out.

Kudos to Emeka for adding some psychological and emotional context to his hedonistic gospel. Time will tell how this one ages. Bravo. Take a bow Emeka.

PRODUCTION: 9

LYRICISM:9

FEATURES: 8

COHESION:9

TRANSITION: 9

STRONG POINTS: Blaq’s rapping, thematic cohesion, Lojay’s hook on ‘Whistle’, Blaq’s singing on ‘Loyalty’

WEAK POINTS: Cheque’s shortlived verse and Blackie’s verse on ‘Fake Nikes,’ Tekno on ‘Ess Mama’

BEST/ WORST SONG: Mazoe, Loyalty, Whistle/She Like Igbo

TOTAL: 8.9/10

VERDICT: A classic if it stands the test of time, a solid project, and an experimental success regardless.

AKA and Nadia Nakai Approach One-Year Anniversary

While waiting for his summer smash hit ‘Lemons (Lemonade)’ to rise to the top of the South African streaming and radio charts, finally surpassing K.O., Young Stunna, and Blxckie’s ‘Sete’ to claim the top spot, another milestone is around the corner for Kiernan as he and his girlfriend Nadia Nakai approach their one year anniversary.

The couple has been together since October last year, the relationship between both rappers came as a shock to many as Nadia Nakai achieved fame under the umbrella of Cassper Nyovest’s Family Tree Entertainment.

Cassper and AKA have been archrivals for the most part of their careers and it was quite awkward to fans that the first lady of Family Tree Nadia, would not only get involved with the enemy camp, let alone find love in the arms of Cassper’s arch-enemy immediately after her departure from Nyovest’s label.

Prior to dating Kiernan, Nadia was involved with Chicago, Illinois rapper Vic Mensa, during the South African stop of his African tour. The two dated for about two months before Mensa moved back to the states and there went yet another relationship for Bragga.

AKA on the other hand went through a sad phase as he lost his fiance and then soon-to-be wife on 11 April 2021. Anele ‘Nellie’ Tembe accidentally fell off a 1oth floor balcony and died just weeks before the wedding.

“I am in a fantastic place. Love is in the air. Nadia and I have been together for about a year and just enjoying each other,” said AKA. The award-winning rapper also stated that their relationship is set in stone because of music.

AKA said that music unites them the most as they are able to complement each other in their day-to-day work.

“Music always unites us. Both of us being both artists complement our relationship.” When it comes to music, AKA has been on a roll recently.

Following the release of Lemons (Lemonade) featuring Nasty C, AKA reminded the South African hip-hop community of what he is capable of after a brief absence from the scene. The rapper stated that he is excited about how the song has gained momentum in the game since it has become one of the most popular songs.

“Lemons (Lemonade) is arguably one of the most popular songs. Things are going well, it’s gaining momentum and I’m excited.” He said.

The rapper admitted that he is currently having a good time with music and the whole energy in hip-hop music.

“I’m feeling a brand-new breath of fresh air in the game, in hip-hop, music, and just my life in general,” during his interview with DRUM Magazine.

About him dating Nadia AKA had this to say,

Lucas Henshaw is a versatile writer and music blogger who has written countless reviews and blog posts for several big brands. Follow his work @Lucas Henshaw on Facebook, @lucas_9ja on Twitter and @Lucas Henshaw on Linkedin.

‘Sete’ Makes Way for ‘Lemons’ at Number 1 on the Radio Charts? AKA and Nota Disagree

After a ridiculous run at the top of all the streaming and radio charts in Mzansi, going double platinum in two months and hitting 8 million views on Youtube at the same time, K.O’s magnum opus single ‘Sete’ featuring Blxckie and Young Stunna seemed to have finally given way on the radio charts top spot to AKA and Nasty C’s ‘Lemons (Lemonade)’ track which has been trailing ‘Sete’ at #2 for weeks since it’s release. However, there has been some controversy surrounding this news.

While AKA took to Twitter to celebrate the milestone achievement being his first song to achieve this feat since ‘FREE.’ Controversial media figure Nota Baloyi went on Twitter to discredit AKA’s claims to having the country’s biggest song on Radio.

The music executive mentioned that AKA shared a radio chart that expired on Tuesday.

My wife has spent more weeks at #1 this decade that AKA, Black Motion & DJ Zinhle combined… It’s sad to see Kiernan making fake radio charts on Wednesday because he was #1 up to Tuesday & the chart is from Friday to Thursday each week, where he last topped the chart with FREE.” tweeted Nota.

https://twitter.com/akaworldwide/status/1580137338138931200

An official response from neither AKA nor the official radio chart body has surfaced since Baloyi made these claims.

TELMAN Sets a New Standard with “MOOV DIFFERENT” – A Sonically Bold and Spiritually Charged Release

In an industry often crowded with noise, TELMAN returns to cut through the static with precision. His new single, “MOOV DIFFERENT,” released today under RADARMusic, is more than just another addition to his discography—it’s a sonic manifesto of personal evolution.

Following the viral success of “Awesome God”—a gospel-drill anthem that earned widespread recognition across streaming platforms—TELMAN now embraces a more grounded yet elevated identity: The RADARMan. As the official face of RADARCharts, TELMAN carries not only the weight of his sound but the voice of a generation navigating growth with grace and grit.

A Sonic Journey with Purpose

From the moment the beat drops, “MOOV DIFFERENT” sets a tone of smooth confidence. Produced with Afro-fusion richness and the bounce of UK Drill, the track is a mid-tempo stunner layered with meaning. TELMAN weaves sharp bars with melodic restraint, striking a balance between spiritual depth and street perspective.

His delivery is effortless—never forced, never chasing clout. Instead, TELMAN leans into his truth, his tempo mirroring the unhurried pace of someone who knows where they’re going.

Lyrical Themes: Power in the Quiet

At the heart of “MOOV DIFFERENT” is a message that resonates across creative communities: move in silence, let results speak, and remain anchored in self-worth. TELMAN’s pen is direct yet poetic, reflecting a young artist who has matured from ambition-driven urgency to values-led intention.

He doesn’t brag. He affirms. And in doing so, he provides a new language for artists, hustlers, and dreamers building legacies away from the spotlight.

Impact and Direction

TELMAN’s track record speaks volumes—6M+ streams, thousands of playlist placements, and a footprint that spans Lagos to London, Nairobi to New York. With each release, his influence deepens. But “MOOV DIFFERENT” stands out as the project that redefines not just his sound, but his direction.

Under the strategic leadership of Royal Empire Management and the cultural engine of RADARCharts, TELMAN is no longer just participating in the music conversation—he’s leading one.

Now Streaming — A New Chapter Begins

“MOOV DIFFERENT” is now available on all major platforms. Whether you’re a longtime fan or just discovering TELMAN, this track is the perfect entry point into a refreshed and fearless creative identity.

Welcome to the RADARMan era. Movement has never sounded this intentional.

VUGA KVNGZ UNVEILS SULTRY R&B SINGLE ‘COME THROUGH’ — A FRESH CHAPTER IN HIS GLOBAL SOUND

In a smooth shift from his signature Afro-fusion and Hip-Hop foundation, Nigerian-born, Istanbul-based artist Vuga Kvngz steps into new sonic territory with his latest release — Come Through, a sensual and melodic R&B track that captures vulnerability, late-night desire, and musical maturity.

This release is more than just a song — it’s a statement of evolution. Vuga Kvngz, born Chiedozie Eze Walter, has continuously defied expectations with his genre-blending artistry. Known for fusing influences from Afrobeats, Hip-Hop, Reggae, and Alternative sounds under his self-styled genre, Vuga Vibes, the artist now introduces a new layer of depth and soul to his catalog.

A NEW SOUND, SAME SPIRIT

Come Through is stripped-back yet emotionally rich — showcasing Vuga’s growth not only as a vocalist but also as a storyteller. The song’s moody production and tender lyrics invite the listener into a world of longing and intimacy. It’s a sonic invitation, one that highlights a softer, more reflective side of the artist.

Yet, even within this new R&B direction, Vuga’s creative DNA is ever-present. His ability to draw from lived experience, to inject fiction from his poetry roots, and to infuse global influences — from Burnaboy and Prettyboy DO, to Drake and Jay Z — is what makes his music distinct and memorable.

FROM IMO TO ISTANBUL: THE WORLD BOY JOURNEY

Originally from Imo State, Nigeria, Vuga’s musical journey began after completing a degree in Political Science. After a few years in Nigeria’s music scene, he relocated to Istanbul, Turkey, where he pursued his Master’s degree and reignited his passion for music.

Since then, he’s carved a niche for himself in the Turkish scene, pushing African soundscapes into global spaces with tracks like Take Over — a powerful anthem about ambition and resilience.

Through his co-founded label World Boyz Entertainment, Vuga Kvngz has created more than music — he’s building a movement. From curating Worldly Activities, a concert series that amplifies African and global voices in Istanbul, to designing fashion and merch through World Boyz Collective, Vuga is shaping culture both in sound and style.

VUGA VIBES REIMAGINED

With Come Through, Vuga invites fans into an emotionally honest experience. It’s a love letter written with smooth vocals and textured R&B production — one that shows his readiness to explore deeper, more intimate territories without losing his roots.

The single is a warm-up to what’s next — possibly another full project or an expanded chapter of Vuga Vibes.

Bobbo Esko Unleashes FEAR WHAT YOU DON’T KNOW — A Fearless Hip-Hop Album of Reflection, Power, and Purpose

Today marks the official arrival of FEAR WHAT YOU DON’T KNOW, the highly anticipated album from Nigerian rapper and lyrical force Bobbo Esko. Produced entirely by his longtime collaborator Icebeatzz, the project is now available on all digital streaming platforms and is already drawing attention for its bold storytelling, layered production, and fearless fusion of hip-hop and Afro-influenced soundscapes.

A Statement Album with a Purpose

From the opening bars of “FWYDK (Intro)” to the closing moments of “FWYTA (Outro),” Bobbo Esko makes it clear: this album is more than music — it’s a mirror, a confession, and a manifesto.

Speaking on the release, Bobbo shared:

“This project is my truth. It’s about acknowledging the fears we carry, the things we avoid, and the power that comes when we face them head-on. Every verse, every beat, is me choosing courage over comfort.”

The album features stellar guest performances from Marc Swagz, Miickey Metro, Stakexx, and Fozter, each lending their unique voice to the tape’s powerful themes of black identity, struggle, accountability, and ambition.

A Sound That Stands Out

Blending classic rap cadence with Afro-hop, melodic hooks, and conscious lyricism, Bobbo’s voice cuts through like an artist who knows who he is and where he’s going. Icebeatzz’s diverse sonic palette ties the project together, offering hard-hitting 808s, soulful textures, and rhythmic bounce — a sound that feels both global and rooted in African expression.

Whether you’re drawn to the raw honesty of “MY FAULT” or the confident swagger of “BIG BAG,” the album proves Bobbo’s versatility as both a lyricist and creative visionary.

A Milestone for Bobbo Esko

With previous projects like No Pressure and breakout singles like Malaga and Oyego, Bobbo Esko has already made waves in Nigeria’s independent rap scene. But FEAR WHAT YOU DON’T KNOW feels different — more mature, more focused, more unapologetically him.

Born Chukwuebuka ThankGod in Enugu State and trained as a Doctor of Physiotherapy, Bobbo’s dual life as a health professional and rapper only adds depth to his perspective. He’s walked through academia, industry pressure, and personal reinvention — and now, he walks into this moment fully aware of his power.

Jason Nkanga Taps Into Limitless Expression on New Track “Pi”

Today, Nigerian rapper and lyrical architect Jason Nkanga releases “Pi,” his latest addition to a catalog defined by intelligence, energy, and lyrical sharpness. The track is a bold statement—complex, calculated, and creatively unbounded. Like the mathematical constant it’s named after, “Pi” challenges convention and stretches beyond limitations.

Jason has never been one to follow trends. With “Pi,” he presents not just a song, but a concept.

THE SOUND OF “PI”

“Pi” delivers sharp lyricism wrapped in a haunting, minimalist beat. Jason moves with intention, weaving through themes of ambition, knowledge, and personal philosophy. His flow mirrors the unpredictable yet calculated rhythm of the number itself—relentless, intelligent, and purposeful. The production leaves room for every word to land with force.

This isn’t casual listening. It’s crafted for those who listen to understand.

JASON NKANGA: INDEPENDENT BUT UNDENIABLE

Since his debut with Go Dumb in 2014, Jason Nkanga has remained a standout voice in African hip-hop. His acclaimed projects The Art of Rap and Redemption earned him respect as a thoughtful lyricist with global vision. Collaborations with names like PsychoYP, Blaqbonez, Mick Jenkins, and theMIND, alongside features in BBC, Hunger Magazine, and Okay Africa, have positioned him as a cultural voice in his own right.

With “Pi,” Jason pushes further—continuing to define his sound and shape his legacy without compromise.

ARTIST STATEMENT ON “PI”

Jason describes his creative process with clarity and focus:

“It started like every song does—I cut off distractions, zoned in on the beats, and waited for the one that stuck. ‘Pi’ hit me because the concept felt limitless. Once I started writing, it flowed endlessly. I even researched some bars to make sure they were airtight—because when I rap, every word has to mean something.”

He adds, “If my team likes it, that’s a bonus. But even if they don’t, if I feel strongly about a track, it drops. That’s the kind of artist I am—I take risks because the music deserves that.”

THE BIGGER PICTURE

“Pi” represents more than just lyrical ability—it’s about longevity, vision, and impact. In a space often ruled by trends and algorithms, Jason continues to build a legacy rooted in quality, authenticity, and craft.

Whether you’re a lifelong fan or new to his sound, this is the perfect moment to step into his world.

The Capital Strikes Again: Freqie Space Cypher Now Streaming Everywhere

After electrifying YouTube with its raw visual debut, the Freqie Space All Star Cypher is officially live on all major digital streaming platforms. Today’s drop cements Freqie Space’s role as Abuja’s creative headquarters—proving once more that the city’s hip-hop heartbeat is loud, proud, and unstoppable.

The Line-Up: Voices Shaping Abuja’s Rise

ArtistCalling Card
FrequencieFounder of Freqie Space and architect of Abuja’s new-wave sound.
ShagbaRapid-fire storyteller blending street poetics with soulful cadence.
MoefasaCharismatic wordsmith known for lush metaphors and velvet delivery.
ToocoldbabyThe drill-infused firebrand turning real-life grit into anthem hooks.
Uncle WalesVeteran rhyme-slinger whose sharp wit anchors the cypher’s climax.

Together, these five voices forge a seamless relay of bars, each verse raising the stakes for the next. The chemistry is undeniable; the competitive camaraderie, palpable.

More Than a Track—A Cultural Beacon

  • Unity Over Ego: Five distinct styles converge in one seamless statement.

  • Capital Credibility: Abuja asserts its own hip-hop identity, independent of Lagos.

  • DIY Legacy: Produced, filmed, and promoted from within the community—zero gatekeeping.

Stream & Support

The Freqie Space All Star Cypher is now on Spotify, Apple Music, Audiomack, Boomplay, Deezer, and YouTube Music. Hit play, add it to your playlists, and share your favourite punchline with the tag #FreqieSpace.

STREAM NOW

Slim Dumpie Embraces True-self In His Sophomre EP Dimakatso

This project means a lot, not just to Slim, but to all of us who’ve watched him carve his own lane with raw honesty, energy, and a sound that’s both street-rooted and emotionally aware.

Dimakatso isn’t just a collection of tracks — it’s a body of work that captures Slim’s duality: his fight, his spirit, his softness, and his steel. Each track tells a story from his world — whether it’s about love, survival, identity, or just that hunger to be heard. And this time, it feels more refined, more vulnerable, more intentional.

The name Dimakatso carries a profound double entendre, it is deeply personal to the artist because it was the name of his late sister but futhermoore meaning “suprises” in Setswana it is a reflection of the unexpected and tranformative qay the Slim’s life unfolded and despite the ordeal he never doubted his ability in making music

With this project being his second EP, Slim Dumpie wanted to make this moment unique. He created this project in between the production of his upcoming album – August 3. The selected songs that have made up the project are intentionally crafted for listeners to enjoy and connect with; not particularly diving into heavy subject matter. Instead, the focus of this EP is Slim Dumpie’s artistic range and creative versatility. This is in contrast to his last project – August 2, whereby he was grappling with depression, however, ‘Dimakatso’ is made with zero influence of depression but one hundred percent self-confidence – embracing his true self, for which he feels genuinely loved for.

ENJOY!

Catholic Boys Album by Latino Perrico Is a Holy Declaration, Not a Safe Bet

There’s music for the charts—and then there’s music that punches through your chest. Catholic Boys is the latter.

Nigerian artist, rapper and all round creative Latino Perrico steps to the mic like a man on a mission with scriptures in his DNA, pain in his cadence, and a pen baptized by fire. This isn’t gospel rap. This isn’t holy hip hop. This is doctrine delivered through boom-bap and conviction. He’s not rapping for applause. He’s speaking from the pulpit.

This is for the ones baptized in struggle, confirmed by bars, and crowned by purpose, I didn’t come to blend in. I came to remind you what rap with a backbone sounds like.

Latino Perrico
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Strictly for the True Believers

Catholic Boys is Latino Perrico’s most stripped-down and fully realized effort to date, a narrative-rich body of work that walks the line between liturgy and life. No smoke. No mirrors, No A&Rs steering the sound, just real bars, raw faith, and storytelling that hits like a confession booth with surround sound.

From the high-stakes opener Christ the King to the militant Crusade, Perrico builds a world where verses are sacred and the streets still echo with scripture, and then there’s the heat check: Bank of Faith (Remix) featuring African hip-hop royalty Modenine, a surgical trade of bars that bridges eras and continents with lyrical firepower. It’s not a feature. It’s a **co-sermon.**

This Is Legacy Work, Not Playlist Filler

The production reads like a stained-glass window shattered by 808s: solemn melodies, bass lines dragging like a censer through cathedral halls, and subtle echoes of Nigerian soil beneath every word.

You hear the sermons. You hear the sacrifice. You hear Perrico owning his space with purpose and clarity.

“This one’s for those who still believe music should mean something,” he says. “*Every line’s lived. Every cut’s intentional.”

Latino Perrico

Mannie Tseayo Blends Her Heritage With Hip-Hop in New Single “The Shine”

The Shine is Mannie Tseayo’s second offering of the year and what seems like a stellar output from the young Nigerian star. The shine starts with a chant/mantra that puts you in an upbeat mood over traditional wind instruments that pay homage to her TIV origins, while the smooth percussions linger with a rugged hip-hop core.

Mannie Tseayo weaves crafty lyricism in her verses as she sings, “And if it’s gon mean something to me, I’ve got lots of places to be.” Not only do the lyrics, but the sonics speak highly of “The Shine” as a heavy-hitting record, with production from Scxrface, who does a stellar piece. The shine encapsulates Mannie Tseayo’s trajectory and mass appeal in her creativity.

Mannie’s performance on “The Shine” is a confident leap forward, showcasing her artistry as a genre-fusing creator. Her sharp delivery rides the beat with purpose, making it clear that her sound is here to stay. Following her previous release earlier this year, “The Shine” cements Mannie Tseayo’s rising status and creative momentum as one of the most exciting emerging artists from Nigeria to watch. 



AJFawdySeven Taps Amarii & Thorii For New Single “RUN– A Bold Cross-Border Anthem

Hailing from Lesotho AJFawdySeven is a Rising alternative hip-hop artist striving to put his country on the map through his music. The rapper returns with a powerful new single titled “RUN,” featuring fellow country man Thorii and Eswatini’s creative maestro Amarii. The track officially drops on Friday, June 20, 2025, across all major streaming platforms.

Previewed on Timbaland’s live discovery stream, the track received critical praise from the legendary producer himself — a rare and powerful co-sign that signals AJFawdySeven’s rising trajectory in global hip-hop.

“RUN” is a dark and sexy drill anthem layered over an R&B-inspired sample, fusing urgent storytelling with smooth melodic undertones. Each verse takes flight with raw emotion, showcasing cross-country chemistry and borderless ambition. The production, handled by Icelandic producer Thor Björgvinsson, provides a cinematic, high-energy backdrop that pushes the sonic boundaries of Southern African rap.

This latest single continues to bridge Lesotho’s underground with global influence. Listen Below

Bar for Bar Royalty: Latino Perrico & Modenine Light the Fuse Before “The Catholic Boys Album”

Latino Perrico’s not whispering his arrival—he’s kicking the door open.

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In a surgical move right out of the playbook of rap rollouts, Latino Perrico connects with Africa’s rhyme Godfather, Modenine, for the Bank of Faith remix. This isn’t just a collab—it’s a generational cipher. Two emcees from different eras of hip-hop, locked in, trading precision flows and lyrical depth like it’s a war of truth.

The original cut was already flame packed with soul, soaked in survival, and wrapped in sacred metaphors. But the remix? That’s guerrilla gospel. And when Modenine enters the booth, it’s not a guest verse—it’s a lyrical sermon.

“Modenine didn’t just spit bars,” Perrico told us. “He echoed the vision, pushed it further. We weren’t just rappin’—we were testifyin’.”

This Ain’t a Detour—It’s an Omen

Perrico isn’t teasing. He’s warning. The remix sets the stage for The Catholic Boys Album, dropping June 20th—a project that doesn’t chase clout or algorithms. It builds a kingdom on belief, bars, and grit.

Track titles like Christ the King, The Crusade, Ghetto Angels, and Judgement Day, say it all—this ain’t no playlist filler. Perrico’s carving out his space in the culture, unshaken by trends and unapologetically rooted in purpose.

“I’m not dropping songs,” he says. “I’m dropping *statements*. If you’re not tuned in, you’re missing the message.”