TNT Mini-Mag Entertainment | November 16' | Page 4

entertainment

MUSIC

Very seldom do the waves of Hip Hop ring true in 2016. Nothing less of electronic
voice over, over collaborated mc sessions meant to drown out the shit that spits out the
mouth of what’s in the now…until now.
Four weeks ago, I stepped into the studio with Louis Grey better known to the
underground as TWREX and what carried from his mouth onto the mic was a resurgence
of breath back into the soul of hip hop that was long forgotten.  As I would find out I had
only scratched the surface of the sphere of talent the encircles TWREX.   I could spend
time talking about similarities with artist’s we’ve heard in the past, however no justice
would be done to organic voice that sharpens as it moves through track and comes back
to sync a message preaching truth, hardship, and blessings.  The upcoming Re-Release of
The John Wick EP delivers the cinematic presence of 1960’s Harlem with futuristic feel of
the new beginning of Rap, and that’s exactly what it is.
Some do cover’s, others choose to
re-master old tracks, The John Wick
Ep raises the Hip-Hop ghost of
the past from the dead.
Partnered with producer Tim
Webb better to be known as
Big HUB, beats fall off HUB’s
midi like rain on a tin roof;
unexpected, loud, and
addicting.   The variations
of soul, percussion hits, and
baselines rip through your
spine as Hub reaches into
your chest, grabs your
heart and squeezes it in
rhythm.
Twrex speaks about life,
struggle,
and
the
confidence it takes to rip
through the destruction
and rise on top in the
end.  This is a part of an
uprising movement in
Texas artist’s making a
name for themselves.   What’s different
about 2016 is that the Dallas/Fort
Worth Hip Hop scene is making a name for itself in a way unseen before.  No longer are
MC’s lining up to grasp their share of the spotlight in hopes of landing a label
deal on either coasts, NO the hip-hop game is evolving.  In the past, Texas Hip-hop has
been treated as a stepping stone to larger venue’s and entertainment driven cities like
Atlanta, Nashville and the obvious New York and LA Scenes.  Why, because of the label
presence and accessibility to good producer’s, studio’s and a hip hop friendly
environment of collaboration. The truth of the matter is those environments have become
sour and diluted with label’s willingness to sign and produce ‘entertainer’s’, not rapper’s.
What’s the result?
Repetitive, retract, auto tone voice-over swaps, mixed with beats made to be used by
five artists at once; the oppressed has become the oppressor.

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