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It Seems NBA YoungBoy is Reacting to Drake’s Supposed Insult

The hip-hop industry is often marked by conflicts, and currently, there seems to be a dispute evolving between NBA YoungBoy and Drake. The discord was initiated when Drake launched his song “8AM in Charlotte” from his album “For All The Dogs”. A specific lyric in the track – “You young boys take some of that money and set it aside/ Not havin’ enough to pay your tax is a federal crime” – was interpreted as a pointed jab at NBA YoungBoy.

NBA YoungBoy, also referred to as YB, reacted to what he thought was a disrespect from Drake through a profanity-laden Instagram post. In his song “Fuck The Industry Pt. 2”, he had previously criticized Drake, along with J. Cole and Lil Durk. However, it seems that out of all the rappers he targeted, Drake was the most affected by the insult.

Interestingly, “For All The Dogs” also features another rapper addressing rumors of a feud with YB. J. Cole, who was also targeted in “Fuck The Industry Pt. 2”, used his feature on Drake’s album to clarify that he does not have beef with NBA YoungBoy. On the track “First Person Shooter”, Cole raps, “N-ggas so thirsty to put me in beef/ Dissectin’ my words and start lookin’ too deep/ I look at the tweets and start suckin’ my teeth/ I’m lettin’ it rock ’cause I love the mystique/I still wanna get me a song with YB/ Can’t trust everything that you saw on IG/ Just know if I diss you, I made sure you know that I hit you like I’m on your caller ID.”

This clarification comes after YB suggested in “Fuck The Industry Pt. 2” that Cole had ghosted him after initially agreeing to a feature. Rumors of a collaboration between the two artists have been circulating since 2021, when it was reported that they were planning to hit the studio together.

While the feud between NBA YoungBoy and Drake continues to unfold, it’s clear that the world of hip-hop is as dynamic and unpredictable as ever. Whether these feuds result in more diss tracks or potential collaborations remains to be seen. For now, fans are left to speculate and dissect every lyric for possible hidden meanings and shots at fellow artists.

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Eric Schroeder Releases Album

If you’ve ever heard the music of Eric Schroeder before, you already know that melodic sting is often the backbone of his heady rock sound, but in his latest release Turned on the Stereo, which was released this year everywhere quality indie-rock is sold and streamed, it plays as great a role as the lead vocal does. The guitar is the star in the title track of this LP, much as it guides the grooves of singles “Parting (No. 2)” and “Stayed the Same,” and whether you’re a six-string buff or not, it’s an element that will engage anyone who catches a glimpse of this album’s most powerful moments.

There’s a lot more to Turned on the Stereo than just gilded guitar tones; after all, when listening to songs like “Mother Said,” “The Kind of Wound That Never Heals,” “Plan For Me” and the juggernaut “Never Go Away,” everything from the percussion to the vocal harmony itself is presenting us with a different layer of emotion. There’s scarcely a juncture in this record where Schroeder doesn’t sound deeply invested in the narrative he’s trying to get across, which is something I could only wish to see among his mainstream competitors nowadays.

At the center of every song on this LP is the magnetizing melodicism of the leading man, which despite flexing some legit muscle in past releases bearing the Eric Schroeder name sounds much more relaxed and on-point in tracks like “Do Done Now,” “Claire’s Song” and “Easier Way to Go” than it ever did before. There’s no hesitation on the part of our leading man here; if anything, I’m not sure that he’s come across quite as confident in his performance as he does in a couple of this record’s most climactic fever pitches.

https://open.spotify.com/album/7h8hV4kn18WMWcov4723YN?si=CgrNzFBvRs6D-BaqroToKQ&nd=1&dlsi=b22a7ce812e34a6e

As far as the production quality is concerned, Turned on the Stereo is a superbly tight album that doesn’t leave us guessing how richly textured and full a song like the title track or “Never Go Away” might sound in a live capacity, which is undeniably a tough feat to pull off. It’s perhaps not as evenly mixed as The Crucifixion of Eric Schroeder was, but I don’t know that he was looking to go super-polished in this instance; there’s a certain authenticity that comes with filtering fresh material through a raw, unconventional sound, and that could be why this LP stings as hard as it does.

Though I just started exploring Eric Schroeder’s complete discography a little closer this April, I’ve come to appreciate his approach to songwriting all the more thanks to Turned on the Stereo, which I deem the most mature offering he has released thus far. Schroeder isn’t working with major label assets by any means here, but he’s nevertheless turning in something that feels wholly compelling and different from what his contemporaries are producing in this first half of 2024, and that alone makes it a worthwhile listen for anyone who demands organic quality in rock anymore. Top to bottom, this is a terrific listen for those who love indie riffs and smoldering lyrical emissions.

Sebastian Cole

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Artist Spotlight

The Skinny Limbs Unveil Galactic Soundscape with ‘Mozart for Martians’ EP Premiere

The Skinny Limbs have unveiled their latest EP, “Mozart for Martians,” which consists of five stellar tracks that revolve around the complex universe of emotions accompanying a long-term relationship’s end. This EP’s celestial soundtrack for heartbreak, rejuvenation, and reflection seamlessly blends indie-pop with lo-fi vibes and Japanese pop influences, transcending musical genres.

This eclectic mix creates a vibrant tapestry of sound, drawing listeners into a realm that is both familiar and otherworldly. The raw vulnerability in each track reflects band member Max Knoth’s personal journey through love, loss, and life’s unpredictable twists.

Lead single “Too Little Too Late” is a gut-punching anthem that blends poignant lyrics with a sonic fusion of Japanese pop and indie elements, capturing the EP’s emotional core. Meanwhile, “To The Limit” offers a celestial blend of melodies and evocative lyrics, portraying the feelings of confusion and frustration that accompany life’s hurdles.

The EP’s sonic journey is completed by the unreleased gems, “Monday,” a jammy reflection of Max Knoth’s tumultuous breakup week, “I Know You Care,” an older track reborn, and “For So Long!,” a groovy exploration of confusion, patience, and the search for clarity.

Produced by Connor Robertson, Jake Rye, and The Skinny Limbs, and mastered by Mike Cervantes (known for his work with Dolly Parton and MisterWives), this EP is a masterful blend of heartfelt storytelling and musical innovation. The production quality is top-notch, and the EP’s 18-minute runtime provides a concise yet powerful journey that will leave listeners craving more.