Web Site: http://mattgmuzik.com
Bio: Matt G is independent recording artist and viral marketing expert from Austin, TX. His music can be heard at: mattgmuzik.com
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Though the SXSW music festival in Austin has been an annual extravaganza for 27 years, there has only been a strong hip-hop influence within the last 6 years or so. Prior to that, much of the festival’s genre representation was catered towards classic rock, country, folk, blues, and soul music. That’s not difficult to understand considering hip-hop itself wasn’t as popular and influential a genre until possibly a decade ago or so.
Predominately the festival was geared to the rising stars in alternative, indie-rock, folk, blues, alternative, and indie-pop sectors of music. However, 2008-’09 saw a huge influx of hip-hop unlike anything the festival had seen before.
I attended in 2009 and was lucky to witness promising hip-hop acts such as B.O.B, Charles Hamilton, U-N-I, Mickey Factz, Blue & Exile, Asher Roth, & Wiz Khalifa. Several established artists made an appearance that year such as Pete Rock, Bun B, Reflection Eternal, Zion-I, 8Ball & MJG, Eyedea & Abilities, Freeway & Jake One, Sage Francis, Killer Mike, and many more. The 2009 SXSW music festival must have sparked a fire that has been burning uncontrollably since then because every year not only has the festival grown to immense proportions but the hip-hop element has seemed to exponentially multiply.
It seems Austin, Tx has become the “place-to-be” for the up and coming stars in the hip-hop community. I saw and met Mike Posner, Chiddy Bang, Freedie Gibbs & Pill, Grynch, Grieves, Macklemore, Curren$y, and many more in 2010. An experience that inspired me to get back to the studio and record after laying dormant for several months.
The 2012 music festival was the biggest yet for the hip-hop presence at SXSW with major performances by Jay-Z, 50 Cent, Slaughterhouse and appearances by Eminem and Kanye west. MGK won his MTVU woodie award during this years festival and the next wave of rap superstars such as 2Chainz, A$ap Rocky, Kendrick Lamar & B.I.G K.R.I.T all had major showcases.
In fact there was so much hip-hop going on the entire week, I had a hard time keeping up, with my unofficial showcases and peer performances. The major headlining acts of SXSW 2013 have yet to be announced but I can only imagine from the past three years alone, what we have in store for us come January when more showcases will be revealed. If you are a die-hard hip-hop fan and have yet to hit the spectacular, now-worldwide attraction, I suggest you mark your calendars for March 8-17 because this one is sure to be one for the record books.
“Once upon a time not long go, where people wore pajamas and lived life slow…” was the opening line of a 1989 hip-hop classic recited by a British born rapper named Richard Walters, better known to the world as Slick Rick. These lyrics have been sampled, re-interpreted, and interpolated by more artists in urban music than I can remember. Also known to fans as “The Ruler,” Slick Rick has been deemed one of hip-hop’s most renown story teller’s to date, and fittingly so.
Hip-Hop artists have looked to Slick Rick’s unique story telling fashion in order to tell tales of the streets from their own personal point of view as urban poets. Throughout the years we’ve had so many apostles of the streets give us their poetic interpretations of the savage world that produced an art unlike any genre in music. You can list dozen’s of incredible songs that defined generations, such as Ice-T’s “6 in the Mornin” or “Brenda’s Gotta Baby” by Tupac Shakur. Every fan will argue their favorite story-telling rapper based upon which explicit depiction spoke them on the deepest level emotionally.
From Notorious B.I.G. to Big L, Nas, Kool G Rap, Raekwon, Ice Cube, A Tribe Called Quest throughout hip-hop’s timeline continuing to Jay-Z, Common, Blackstar, Elzhi, Outkast, the list goes on.
We wouldn’t have the classic rap narratives of my generation such as “Damien” by DMX or my all-time favorite, Eminem’s “Stan” if it weren’t for the predecessors that came before them. Hip-Hop music has painted us a detailed picture of real life by the verbal savants whose words serve as pictorials to some of the most amazing stories ever rhythmically recited.
The past decade we’ve been blessed with torch bearers such as Joe Budden, Royce Da 5’9, Saigon, Lupe Fiasco, Immortal Technique, Brother Ali and Vinnie Paz of Jedi Mind Tricks. I’ll even throw in a few of my personal favorites of recent that you may not have even heard of such as Grieves, Macklemore, and Oncue. The last three are on constant rotation on my Ipod playlists as they represent a more bridged gap of not only generation but ethnicity amongst artists.
Story telling in rap is by far one of the most unique aspects of hip-hop as a culture and what the music gives us in contrast to other genres (aside from possibly country). If you have a parent or grandparent that dismisses the art the resides in rap music, I suggest you pick a couple of your personal favorite songs to play that tell a story so fascinating one couldn’t depict a better picture visually. It’s apart of what defines the culture and the music, and has helped so many of us artists of the next generation tell our stories to those who are still writing their own.
Attached to this post is a link to a song of mine that tells the unique story of my first high school crush… And a hypothetical portrayal of what could be if things were different.
I’ve been a music recording artist for over 5 years now, but I’ve been a die hard music lover my entire life. As much as I’ve learned in my brief time as an artist, I’ve come to realize how flawed this industry is and how the control of the many by the few leaves fans at a disadvantage. Because of the greed and manipulation in the industry, fans are force-fed shallow and drab renditions that represent the worst behavior as individuals and society alike.
While this is happening, a large population of wholesome and talented artists get ignored in the process of trying to find that bright young star that can grant label wishes of profit and power.
It doesn’t matter what genre you turn to, the ego-driven monotony of today’s music pushes the will of younger artists and the desire of the fans to seek what they don’t have.
While there isn’t a single person or persons to blame for the shortcomings of music, there’s always solutions that can be presented to curtail this problem. Here are 5 things I’d change about music if I had the resources to do so.
1. Artist owned interest in record label deals. It’s unfair that so many artists are slaves to their contracts and are forced to abide by the demands of the label. Many have to change their musical style and compromise their creativity in order to please the commercial appeal every label requires. As apart of artist contracts, I’d add clauses that give the artist percentage owned stock in the label itself. This gives incentives for artists to not only do well in pleasing their respective fan-base, they’d involve themselves in more constructive collaboration to help their fellow artist.
2. More technologically equipped radio stations that offer a wide variety of high-definition satellite, and internet radio services/programs in which the listeners have more interaction and control. The same type of functioning we’re already seeing with Spotify, Rdio, Last.fm, Pandora, etc. If fans were exposed to more diverse music, trust me, their musical tastes would change and so would the type of requests that would be made to radio stations.
3. I’d also create a more structured system of artist networking services that serve a multitude of tasks that serve as filters submitting new artists music based on an almost application like process to be heard and considered for major distribution and press. This could also turn into a preemptive development process whereas ambitious young artists could mold their crafts better preparing them for the commercial world almost like an academy styled system that help refine the skills of new and undiscovered talent.
4. A more distinguished and diverse system of filtering old music and new music eliminating unnecessary entities like billboard charts that give fans an illusive idea of the relevance of popular music. Just because a particular artist or song has billboard placements and awards doesn’t give their music more or less relevance or quality than those don’t have this particular advantage due to the backing and promotion of major labels and their large budgets.
5. A completely artist/fan controlled element of the industry as a whole. Its time the artists chose how to make their music with no interference and how we choose to hear the music as fans. The old business model of music is deceased and has changed to a point the only likely chances of success for the future is to give the artists and the fans control and not the labels. Shows like American Idol and The Voice coupled with services like Twitter have proven to be the wave of the future in how music is discovered and shared.
Now I don’t consider myself an expert by any means , I’ve just come up with several ideas that could jump-start a revolution in the way the system of producing, distributing and sharing music is done. I also believe by combining forces and ideas, those of us who have a background in music can create a brighter future for the industry and a better product for the consumer.
Love him or hate him, its virtually impossible in the world of modern day popular music not to know who Marshall “Eminem” Mathers is and what he’s accomplished. With nearly 20 years in the game, 49+ milllion albums sold in the U.S, and 100+ million albums sold worldwide, he is one of the biggest selling artists in the world and the biggest selling artist of the 2000’s. As a fan and artist myself, his music directly inspired much of how I write and record. Here is my comprehensive ranking of Eminem’s albums worst to best, with the exception of Curtain Call.
Every Eminem fan will probably agree ‘Encore’ was by far one of his least impressive works to date. I personally enjoy the album with introspective and unique records such as “Evil Deeds,” “Yellow Brick Road,” and “Toy Soldiers.” And the additional three tracks on the bonus discs were classic Eminem using his lyrical unique dexterity to entice a point politically, professionally, and romantically. Even so, much of the album’s songs seem so playfully pieced its as if Em lost a bit of his hunger amidst the comfort of his fame and hierarchal status as an artist. Though the production is on point, it was Em’s continuous use of his comical character voice that alienated his die-hard fan base from giving “Encore” the same praise as his previous three. Encore’s numbers did well, selling 1.5+ million copies in its first two weeks and is certified quadruple platinum; and made digital history selling 10,000 copies in one week.
After a 5 year hiatus, a rehabilitated Eminem returned to the rap world with Relapse and its 7 bonus track addition, Refill. Though the subject matter had improved and production remained consistent with Dr. Dre behind the boards, fans were still left with a semi-serious Eminem using a more diverse array of character accents. Though not empty of any less shock value with the sexually perverse “Insane” and fantastic homicidal “3 a.m” I believe fans expected more after 5 years away from the rap game. After listening closely you’ll noticed a more evolved rhyme within a rhyme style as every bar transitions in much of his verses. Alot of fans will argue Relapse being their least favorite, but I have to disagree due to my appreciation of “Deja Vu,” “Beautiful,” “Underground,” “Careful what you Wish For,” and “My Darling.” I also enjoyed every song on the Refill disc, placing the dual disc collective above Encore.
Once again, a completely re-focused and more evolved Eminem released Recovery testing the waters musically with a more diverse group of producers and collaborations. Here we see a completely new side of Marshall with every record deeply apologetic and remorseful to his long-time fans for his absence as one of the greatest rappers ever. Talkin’ 2 Myself is my favorite track with a poignant and determined Em showing giving fans a sincere return. “Won’t back down” featured Pink and was a semi-rock/rap crossover with guitar sampled production by DJ Khalil. “Love the Way you Lie” added Pop songtress Rihanna and placed as the perfect commercial single to embrace a newer and younger fan-base. With a feature from Lil Wayne and a completely solid track-listing Recovery was exactly what Eminem needed to rejoin the greats as a relevant artist in today’s music world.
This album started it all, introducing Eminem to the mainstream rap world and changing music as we know it forever. Though we hear a still evolving vocal approach, Eminem’s controversial subject matter and in-your-face lyrics were something fresh and impressive to both rap music and popular culture. Add to the fact no caucasian rapper had broken ground like Eminem at this point and Dr. Dre as Executive Producer, this was a milestone of a project. Though “My Name is” and “Guilty Conscience” were the lead singles, my all time favorites of this album will always be “Brain Damage,” “Rock Bottom,” and “Just don’t Give a Fuck.” Songs like “If I had” and “97 Bonnie and Clyde” were also unique personal testimony inside of the most unique minds in music.
I may receive some controversial upheaval from Eminem fans but I have to give credit where credit is due because of one single record from Eminem’s debut album. Track 2, fittingly entitled “infinite” is one of my all-time favorite hip-hop ballads to date. From the production to the lyrical construction and content, this track alone will forever remain in a league of its own. The album consisted of merely 10 tracks and displayed an early and less lyrically aggressive Eminem. The production was handled by Mr. Porter and Proof and received much criticism because of an all too familiar rap style by Mr. Mathers. But from top to bottom, the Infinite album represented a conventional form of hip-hop only a 90’s rap music fan can love and appreciate.
Eminem was at the peak of his career at this point achieving success on a global scale commercially and creating more controversy than almost any other artist to date. Here we see a lyrically focused Marshall, taking aims at society with “White America” and his personal grievances in “Cleaning out my Closet.” The albums lead single “Without Me” once again attacked popular culture, giving Eminem his signature of what’s expected in his material. “Sing for the Moment” was a generational representation of his understanding of the connection between the music and the fans sampling Aerosmith’s “Dream On.” Every M.C. including myself will say “Til I Collapse” is one of the most lyrically compelling tracks ever recorded. The Eminem Show was Marshall’s second Diamond Certified album.
Deemed one of the greatest hip-hop albums of all time by Time Magazine, Rolling Stone, and XXL there is no question which of Eminem’s albums was his best. “Stan” will be one of hip-hop music’s and popular culture’s most cherished works of art. “The Real Slim Shady” will be a classic single that every Eminem fan will never forget. “Bitch Please” solidified Eminem’s placement amongst his more elite peers in Snoop Dogg and Xzibit. “Under the Influence” has its definite placement amidst a generation of teens’ all time house party favorites. And “The Way I Am” pretty much speaks for itself. This album not only defined a generation, it was a statement by one disgruntled and determined caucasian M.C that hip-hop had a new sheriff in town.
It is Sunday, October 14, 2012. Welcome to the next generation of Hip-Hop and independent music! I’m proud to write this article regarding the current #1 Album on Itunes, “The Heist” by Macklemore & Ryan Lewis. This much-anticipated 18 track deluxe (15 track regular) debut album by the northwest caucasian lyricist from Seattle, WA is a completely independent effort with no major label involvement whatsoever.
Over the course of the past couple years, Macklemore and his producer Ryan Lewis have worked tirelessly touring, recording, and filming viral music videos while building a deeply loyal fan-base to support their independent movement. His fan base grew large enough to vote him onto the list of XXL’s annual Freshmen class of 2012, and since then has grown immensely. A fan base that has included myself since I first saw and met him at SXSW 2010.
Macklemore is an extremely unique and signature artist, articulately expressing his rhymes with a soft, sincere quality that dances over every beat. His lyrics are comprised with a depth and emotion any listener can literally feel and relate to. Unlike much of his genre peers, his material is based on real-life experiences of normal middle class struggles, touching on topics such as addiction and consumerism. Perfect examples are “Starting Over” and “WIng$”. “Neon Cathedral” is a testimonial of alcoholism and the battles one faces that lead to a loss in religious faith.
Its more than the unique style of Macklemore’s raps, but also the authentic and organic sounds Ryan Lewis uses for the instrumentation behind the music. Many tracks are formulated on various horns, strings, and keys over heavy drums with little to no sampling. Though themes are prevalent on every track, “Cant Hold Us,” “Thrift Shop,” and “Gold” are uplifting ballads that are whip-ready for head bopping. “White Walls” featuring Schoolboy Q is a rider anthem while “Jimmy Iovine” featuring Ab-Soul is a hypothetical portrayal of an artist faced with a choice to sign a major label deal and the unspoken consequences that come with that success. Of course “Same Love” tackles the controversial subject of same-sex marriage, a topic that is completely overlooked and ignored in all popular music.
From opening to closing, this is by far one the best album release of 2012 in my opinion, and possibly one of the most complete albums I’ve ever heard. I’ve read some ridiculous responses to a few of Macklemore’s choices for subject matter, but one cannot deny his creativity and originality. Make no doubt about it, this release is a triumphant achievement for not only a more obscure side of hip-hop, but for completely independent music as a whole. I promise you as an artist and fan alike, this is only the beginning for what the future has in store for the success of independent music.
Buy The Album Now
The Heist by Macklemore & Ryan Lewis
Ask any hip-hop fan of the past 20 years who’s the greatest M.C. of all time and you’ll more than likely receive a guaranteed two answers, Tupac Shakur and Notorious B.I.G. The answer will more than likely depend on the type of fan you ask as well as their geographical origin. One has to ask of course, if these two legendary greats were alive today, who would they consider equal to their upper echelon level of lyricism? Here are five new school rappers I believe the Notorious B.I.G. would have given co-signed approvals had he been alive to hear their lyrical prowess today.
Jay Electronia - Make no mistake of Jay’s unbelievable lyrical talent, he is definitely been a name thrown around as of recent, of torch bearers. Considering his affiliations with Diddy and Jay-Z I believe its only right we hand him what would have been a well deserved notoriety from Biggie Smalls himself. Though his stability as an artists is consistently in question, his skill and impact on the new school would’ve gained him recognition from the original rap king of Brooklyn, NY.
Saigon - Yes its difficult to consider Saigon, that of the new school considering his time in the game, but lets face it. In the recent years, the east coast has suffered to offer hip-hop a consistency of notable acts to bring the once glorified and cherished rap origin. Considering Biggies more gangstafied content and in-depth tales from the street, Saigon’s witty lyricism, and sharp wordplay would’ve been taken well by one true mentor to almost every elite lyricist in the game.
Jay Cole – Though another writer on this specific blog has already listed Cole as a possible Tupac co-sign, it just wouldn’t seem right not to add his name to Biggie’s list of new school approvals. As close as Jay-Z and Notorious were, I believe Jay definitely hit the nail head with this suitable protege in every aspect of the word. And with much of the love and appreciation his fans show to his craft, Cole would’ve received acknowledgement from both greats on that rite alone.
Lil B – I know what you’re thinking. Wtf, this dude’s crazy? But if you managed to get passed the Based God’s off key and dramatic marketing tactics, you’ll see an intense and deep story teller with his unique rap style. Not necessarily the most talented lyricist of them all, Lil B’s ability to draw in his almost cult-like following of Basedheads is one that deserves praise on any level in this wishy-washy world of obscure art. And all I have to say is if Jada already gave his nod of approval, once you take time to listen to Based God’s album work, Christopher Wallace would’ve happily obliged.
Slaughterhouse - Once again, I can see how hard it would be to use slaughterhouse as a significant new school act, but they are recent as a collective. And personally I wanted to use Joe Budden as a solo artist on this list as I believe he is by far the best story-telling rapper of today’s generation of lyricists. But once you take the refined skills of every member of the rap supergroup, there would be no point in excluding any one of them from a list of M.C’s that would’ve received commendation from arguably the most talented story-telling lyricist that ever lived.
There is very little argument, any hip-hop fan or even general urban music fan can make against Outkast being the best group in the history of Hip Hop.
As an artist, influenced by the duo, some of my most cherished memories growing up, consisted of classic OutKast records blasting through the speakers. Though both artists have succeeded immensely as a group, they have both garnered success in music/film individually.
Its been almost a decade since we’ve heard a complete album from Big Boi and Andre 3000, and many fans are wondering, will the two ever re-unite on a full-length project again? Here are 10 reasons, Outkast should record at least one final album as a group, before we saying farewell.
1. First and foremost, its been roughly a decade, and in that time the fundamental originality in much of rap music has been compromised to fit cyclic standard. Outkast never compromises creativity, they have no need to.
2. Outkast has received 6 Grammy Awards, and sold over 25 million albums over the course of their career. There is no question to commercial success that another album would add to those statistics.
3. Today’s fans are of a different generation than 10 years ago. I think they would appreciate the experimental and unique approach the group brings to every record.
4. Long time fans of Hip-Hop are swiftly losing faith in artists’ desire to continue giving us pure music, substituted with the lackluster that has plagued the commercialized industry rap has become.
5. To prove to long time fans, OutKast can adapt and evolve as a successful musical act amidst the highly suggestive and commercialized style of music rap has turned itself into.
6. I believe artists and fans today are lacking the thematic messages older artists once used in their music to inspire and enlighten listeners. OutKast was always been good at doing just that.
7. There has been so much going on in society as of recent, more artists like Outkast use music as a platform to inform the uninformed of what’s truly happening in the world today.
8. Since music genre crossovers have become a more continuous trend in popular music today, OutKast would only add to a more refined experimentation of that trend.
9. The opportunity for newer and younger artists to collaborate with the celebrated, legendary duo
10. To set an example for aspiring talents who have relied on OutKast’s innovation in order to better mold their crafts and continue to break musical boundaries.
I’ve lived in the Live Music Capitol of the world, Austin, Tx, for the past 9 1/2 years. Its one of the most exciting cities in the U.S. and arguably amongst the most entertaining in the world. We have more live music on any given day, then most cities will have in a month. As a die-hard music lover my whole life, and an active entertainer/recording artist for over five years now, I can tell you its every bit of noteworthy as claimed to be. With several music festivals hosted here yearly, Austin City Limits is one of the biggest in the country.
This year will mark the eleventh year the Austin City Limits Music festival has taken place in our central public park, Zilker. Lasting an exhausting three days (11 AM – 11 PM), ACL brings together roughly 130 of the most diverse and celebrated musical acts from around the world to play on over 8 stages. Every popular genre is offered and over 70,000 fans attend each day. The Austin based C3 entertainment is the production company responsible for the festival which also produce Lollapalooza.
I have never attended the full three days but have managed to enjoy several official/unofficial after-parties and also enjoyed the scenic extravaganza from an apartment I was leasing near zilker park in 2009 and 2010. I can tell you right now I’ve never witnessed anything like it. Just to give you a glimpse of artists who have performed over the course of a decade in this illustrious event here is a very minute list which is nowhere near the comprehensive number of performances hosted at ACL:
Dave Matthews Band, Pearl Jam, Muse, R.E.M, Willie Nelson, Coldplay, John Mayer, Modest Mouse, The Strokes, Tom Petty, The Flaming Lips, Wilco, Eagles, Ghostland Observatory, K’Naan, Mos Def, Arcade Fire, Norah Jones, The Black Keys, Pixies, Beck, Damien Marley, Nas, Kanye West, My Morning Jacket, Big Boi, Pretty Lights, Twin Shadow, AwolNation, Cee Lo Green, Stevie Wonder, Skrillex, Theophilus London, Aloe Blacc, The Black Keys, Switchfoot, Kings of Leon, Theivery Corporation, Foo Fighters, MGMT, Del The Funky Homosapien, Bob Dylan, Ziggy Marley, Common, Crowded House, Explosions in the Sky, Oasis, Blue October, M83, Death Cab for Cutie
That is not even close to the dozens more notables that date back to 2002.
Here are some of the headlining acts for the 2012 ACL Line-up taking place Oct. 12-14th:
Red Hot Chili Peppers, The Avett Brothers, The Shins, Crystal Castles, Childish Gambino, Die Antwoord, Gary Clark Jr., The Black Keys, Avicii, Weezer, M83, Black Lips, LP, Florence + The Machine, The Roots, Jack White, Bassnectar, Gotye, Metric, Big K.R.I.T, The Lumineers, The Weeknd, Two Cinema Club, and much more.
Three day passes are sold out (as they go quickly once announced every year), but if you want to spend a few extra bucks Craigslist always has willing sellers or you can take a chance as there are usually a few to be found on site.
There’s always a story behind many successes in the music business, and there is even more of a story behind a celebrated celebrity romance. We all know Tameka “Tiny” Harris, from her glory day with the female R&B group Xscape and her recent reality T.V role with husband T.I. in T.I. and Tiny: The Family Hustle on VH1. What would the “King of the South” be without his Queen? Here are 10 Must Know facts about the urban music songstress, I wanted to share with you.
1. Tiny was born Tomeka Cottle in College Park, Georgia on July 14, 1975.
2. In 1992 Cottle joined the R&B quartet Xscape while attending Tri-Cities Performing Arts High School.
3. As a member of Xscape, she received two Soul Train Music awards or Best New R&B Artist and best R&B album.
4. In 1999, Cottle and former Xscape band member Kandi Burruss were honored with a Grammy Award for Best R&B song for penning the TLC single, “No Scrubs.”
5. Cottle has one daughter, Zonnique Jailee Pullins “Star” from her relationship with Zonnie Zebo Pullins.
6. In 2009, Tiny created the female teen group OMG GIRLZ with Keisha Miles. The group features Cottle’s daughter Zonnique (Star).
7. Recently Harris revealed news of a Late Night talk show on VH1 entitled Tiny Tonight.
8. Tiny has 3 children of her own, two sons with T.I. as well as her daughter, “Star.”
9. Harris own her own nail salon, called Tiny’s Nail Bar in Stock Bridge Georgia, and has recently announced plans for expansion.
10. As a member of Xscape, Tiny sang lead vocals for 5 of their hit singles, including: “Understanding”, “Do You Want To?”, “All I Need”, “Love’s A Funny Thing”, and “Am I Dreaming?”
I have to admit, Auto-Rap app for Iphone seemed cheesy and pointless when I first read the description in the app store, but once I downloaded and tried it out, I started to become freakishly addicted.
This fun app by Smule turns spoken speech into a rap over various hip-hop,pop, and dance beats.Though the free app only comes with 3 beats to choose from, there are more available for purchase.
All you have to do is tap the screen, speak anything into the microphone, and playback the recording over the beat.The app speeds or slows the recording to match the track chosen, and repeats it into a rap.Something simple as, “Lets do it!” Plays back like a T-Pain song heard from the radio. Although I’ve heard of several T-Pain type apps, this one is a tad bit different and makes for a good time.
If you’re looking for a quick way to kill boredom with a few friends, this will definitely do the trick. I also tried it as a conversation starter at a bar, and received decent responses with it. I haven’t purchased any new beats, but I’m more than satisfied with what the app already offers. Besides, no better way to randomly turn an awkward moment into a good time than by busting out with the auto-app during heavy discussions with a friend or two.
I also enjoy the groovy art design interface and the colors for Auto-Rap.The trippy abstract art and psychedelic colors definitely give the app a cool atmosphere that makes using auto-rap that much more amusing.
I rate this app a 4/5, and will probably spend more time wearing out its amusement over the next several weeks.