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Lil Wayne Jumps On Pop Smoke’s “Iced Out Audemars” Remix
At the top of this month, it was revealed that a version of Pop Smoke’s “Iced Out Audemars” existed with Lil Wayne. The track was previewed and, for several reasons, fans were ecstatic.
Steven Victor had seemingly made a promise to himself that, on the rapper’s posthumous album, he would feature all of the artists that Pop wanted to work with. That’s exactly what Pop’s estate set out to achieve, enlisting 50 Cent’s help in doing so. One major name was missing though, but that artist has officially jumped on the new remix to “Iced Out Audemars”.
The remix with Lil Wayne is officially out now, featuring a crazy new verse from Big Tunechi. The legendary New Orleans star replaces Dafi Woo on the reworked version, bringing energy and sharp bars to the match-up. He sends his condolences to Pop’s family and delivers a stand-out verse that the late 20-year-old would have been proud of.
Somewhere up in Heaven, Pop Smoke is smiling that he’s finally got a Lil Wayne collaboration.
Listen to the new remix below.
Quotable Lyrics:
Count my blessings every time that I pray
Body count raise, every shot that I take
Cotton candy iced-out Audemars Piguet
Audemars Piguet but I don’t got time today
Got a Patek on my wrist, got diamonds in the face
Audemars, iced out, iced out, iced out
Artist Spotlight
Billy Chuck Da Goat finds his flow on new release “Vibez”
Billy Chuck Da Goat’s latest release, “Vibez,” has a laid-back, hypnotic bounce that makes it easy to listen to without ever feeling empty. It makes a place where calmness and quiet confidence come together.
“Vibez” was made on purpose, but it also sounds simple. Billy Chuck’s smooth delivery flows through the production without rushing or pushing anything. Instead, he lets the rhythm breathe, allowing people to get into the song at their own pace. This laid-back energy is the best part of the song, nothing feels forced, which is exactly what it’s trying to do.
The track changes to fit whatever you need it for, like a late-night drive, a focused workout, or a way to unwind after a long day. It has a quiet edge of confidence, it’s not loud or bragging, but it’s steady and sure of itself.
Connect with Billy Chuck Da Goat on Spotify || Instagram || Facebook || Youtube
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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.
Connect with François Marius on Spotify || Instagram || Facebook || Youtube || Twitter || Soundcloud
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