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2017 Recap: Payroll Giovanni’s “How We Move It” Was The Party Song Of The Year

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Payroll Giovanni recently signed to Def Jam Records, a move well-earned after years of putting in work with Doughboyz Cashout. Perhaps what finally pushed him over was the quality music he released this year, one song, in particular, is the exciting “How We Move It” featuring HBK, Young Roc, and B Ryan. The track reimagines the party classic “How We Do It” by Montell Jordan under the guise of modern-day trap, utilizing the song’s conventions to create something wholly spectacular. The song’s chorus and first verse, sung by vocalist B Ryan capture the spirit of the original and give way to Payroll’s standout verse. Both HBK and Roc provide great additions to the song’s already great standing.

The video helps to translate the party feel of the track in an excellent manner. It’s one continuous party, with homage to Kid n Play and other classics contained inside. Everyone’s having a great time, and that’s all that matters. Combining this with the song helps to showcase something with uber potential. It’s probably why the video has 587,000 views on YouTube and continues to climb, only five months in.

Check out the video for “How We Move It” below.

Rest In Peace to Doughboy Roc.

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@Parkway703 gets darker than ever before in “I Can’t Feel My Face”

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This is one of the darkest, most beautifully shot visuals that we’ve ever aired. Parkway, hailing from Virginia, is back with a cinematic feast of a video in “I Can’t Feel My Face.” Over some ominous production, Parkway raps with a mysterious kind of angst that’s both inviting and repulsive. He knows how to straddle this invisible line that makes “I Can’t Feel My Face” a worthy video to watch this Tuesday afternoon.

Watch the video below.

 

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Music To Look Forward To Next Week

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Thus far, there are only two huge releases to prep for this week. You never know in the age of the surprise album, but here’s what is on track to come out thus far.

Iridescence by Brockhampton – September 21

Brockhampton’s went through some shit lately because of Ameer Vann and the domestic abuse allegations placed against him. But besides the negative energy brought to them because of the debacle, the group’s been on the backburner for quite a while. Iridescence looks to change that, bringing the world something new since last year’s Saturation 3.

Tha Carter 5 by Lil Wayne – September 21

Yes, you read that headline right. Lil Wayne’s fifth installment of Tha Carter series finally comes out this Friday. The legal situation with Birdman has finally been wrapped up. Wayne can focus on the music that he’s been stowing away for years. If Swizz Beatz’s “P.O.M.S. (Pistol On My Side)” is any indicator, it looks like Wayne hasn’t missed a step either.

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Music To Look Forward To This Week

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This upcoming week for music looks to be pretty barren, save for any suprises. Remember how, in August, and, to some degree, June as well, it felt like everyone was releasing on top of each other? This made for exciting times, seeming as if the listener never knew what to expect. But now, the summer’s winded down. And, with it, the surplus of fresh tunes. Here’s what’s coming out this week, thus far.

East Atlanta Love Letter by 6lack – Sept 14

6lack just unveiled the second wave of promotion for his upcoming album via customized postcards; lucky fans will get them and will be asked to answer a simple question – “what is your definition of love?” This level of detail and creativity shows that East Atlanta Love Letter will be something legendary. 6lack’s been pretty quiet, now we’re going to see just what he’s been working on. The 25-year-old musician’s mesmerizing vocals are some of R & B’s best.

 

Harverd Dropout by Lil Pump – Sept 14

From bullshitting on SoundCloud, to being Kanye West’s creative anchor for his new single. Lil Pump has come such a long way in a short period of time. It looks like this week will finally yield Harverd Dropout, the highly anticipated follow-up to his self-titled debut. Lets hope that its more of what he gave Kanye and less of the earwormy rap boilerplate found in “Gucci Gang” and “Esketit.”

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