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Black Thought Compares Kanye West’s Evolution To J. Dilla’s

Kanye’s brilliance as an artist shouldn’t be questioned, despite how questionable he might be these days. But even as he enter politics, he carries the same drive that got him the Roc A Fella chain and launched his career as a rapper after his success as a producer. In a recent interview with Stereogum, Black Thought, fresh off of the release of Streams Of Thoughts Vol. 3, detailed a few collaborations from his career including Talib Kweli’s “Guerrilla Monsoon Rap” which also features Pharoah Monch and a young Kanye West.

“He was just hungry. He was about the business of showing people his potential as an artist and what he had already in the clip,” Black Thought recounted, describing Kanye as someone who would always be hanging out in the studio. He explained that he witnessed ‘Ye’s evolution, from being someone he’d see in the studio grinding as a producer to transforming into a multi-talented artist. Thought even said ‘Ye nearly followed the exact same steps as the late J. Dilla.

“I saw him evolve from someone who was a producer of tracks to someone who was also an MC,” he continued. “I saw him follow in the footsteps of who I feel, to this day, was the greatest rapper/producer, J Dilla. J Dilla, he could sing and rap and play instruments just as well as he could program beats. I watched Kanye in real time evolve, following almost that same blueprint.”

Thought recounted hearing early versions of “Hey Mama” and “Jesus Walks” after they finished recording “Guerrilla Monsoon Rap.” He added that ‘Ye was often just sitting in the studio, soaking game. A testament to his commitment to making that full crossover from a Roc-A-Fella producer to a household name.

“It was the usual cast of characters. With me, Kweli, and Pharoahe in the lab. 88-Keys would always be around, Kanye would always be around,” Thought said. “Kanye would sometimes literally be a fly on the wall, and you could see his spongelike nature, just constantly learning and soaking up what was being said, what was being done. What I appreciate about the way he did it, was he made it his own. He was never a biter. He soaked up everything everyone did, but he put his own spin on it.”

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François Marius and Bérénice creates a tender acoustic pop confession with “Billie Jean”

François Marius’ latest release, “Billie Jean (Acoustic Version),” cuts to the quick and lets raw emotion take over. What you get, ultimately, is a personal pop experience that feels closer to a secret than to either a spoken-word show or a performance. The initial soft strum of an acoustic guitar creates a mood that is soft, sweet, and quietly interesting. It’s a full-throated, backbones-out piece, and every note is screaming its potential. It’s simple but riveting, and it proves that sometimes less is more.

François Marius and Bérénice’s voices sound right together, their voicings intermingle so naturally that they seem accidental or spontaneous, harmonies that emerge from nowhere. The way they speak to one another is very, I mean, they really love each other. That even makes the track seem like a conversation about feelings.

The two artists are clearly close. Romance and Eros are not just ideas, and they inhabit every note that lingers and every minuscule shift in tonality. The harmonies soar effortlessly over the acoustic foundation, a blend of sweetness and strength. It’s a sign of strength and also of a willingness to be hurt.

“Billie Jean (Acoustic Version)” is stripped of any fancy production or theatrical effects, it wins you over with its frankness and forthrightness. Sandy François Marius’s impersonation is fresh and real, endowed with depth and softness thanks to Bérénice’s presence, which definitely makes everything more perfect. This acoustic performance serves as a stark reminder of the elements that do connect people: the singer, his guitar, and a story from the heart.

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RoHaNa and Morpheus von Dobenhausen paint love in shadows and light “WHEN A BOY LOVES A WOMEN”

RoHaNa feat. Morpheus von Dobenhausen, in this new release, “When a Boy Loves a Woman,” This track, recorded in winter, has a hint of gothic style that blends emotional restraint with atmospheric elegance. The track is all about RoHaNa’s emotional singing, which fits perfectly with the carefully crafted production. Her voice shows desire, weakness, and dedication without being too loud, letting each note ring out. The result is a sound that affects people on a personal and universal level. There is a sense of innocence that permeates, capturing the delicate nature of love in its purest form.

Morpheus von Dobenhausen is a guest singer who deepens the track’s emotional journey. Their voices work together to make a conversation of feelings that is both clear and mysterious. The song doesn’t go too fast, so the listener can feel the mood and atmosphere as they go through its subtle changes.

“When a Boy Loves a Woman” is unique because it strikes the perfect balance between modern pop and gothic restraint. The result is a soundscape that is both creepy and easy to listen to. It is a moving story about love and devotion, told with grace and quiet strength.

With this first release, RoHaNa confidently joins the scene, thanks to XanadumusiX’s never-ending creative drive, even when things get hard in the winter. This release not only introduces a new artist with significant potential but also showcases a bold artistic direction in which emotion, atmosphere, and story come together to make a lasting impression.

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