UpComing Artist From Jersey! | For Bookings and Features Email Me@lilrican973@gmail.com & uptopboyzblk@gmail.com

Danny Brown is a true rap original. His songs are as profane as they are profound, mixing heartfelt personal narratives and razor-sharp social commentary with hedonistic party beats and hysterical, pitch-black punchlines. His personal style is as unique as his music, an inspiration to high fashion designers and legions of devoted fans alike. Danny's Fool's Gold debut XXX
was a free release that snowballed into the year's most critically-lauded rap album, landing the Detroit hero on the covers of The Fader, XXL and Wax Poetics, and follow-up single "Grown Up" was a viral video smash that brought Danny an mtvU Woodie Award and millions of YouTube views.

Now, after two solid years of universal acclaim and non-stop touring around the globe, Danny jumps from "artist to watch" to undeniable icon with his magnum opus, Old. This emotionally-charged concept album is an intoxicating mix of Danny at his most experimental AND most accessible, balancing hip-hop grit with electronic club sonics and much, much more. Featuring guest appearances from A$AP Rocky, Schoolboy Q, Freddie Gibbs, Purity Ring, Charli XCX, and more over production from the likes of A-Trak and Rustie, Old is a psychedelic portrait of rap's most vital and exciting new star.


Music Producer | Sound Engineer |
Contact Email: skizofrenikbeats@gmail.com

     Promise Edwards is a 28 year old rapper, R&b singer and song writer born in Newark NJ but raised in New York City and various other places ranging from Conneticutt and Pennsylvania. Promise's life was smeared with loss, music, and struggle. Since he could remember, both his parents were addicted to heroin. After contracting HIV from sharing needles, both his mother and father died by the time he was 10. Even throughout their addiction, his mother would hum and sing to him, leaving a stamp of music on his soul.
    After their passing, he went on to live in between foster homes, group homes, and back and forth between his grandparents and Aunt. Rejecting love from his family due to the loss of his parents, Promise turned to the streets. He became more of a rebel then he already was, lost in the pit of poverty and hardship. Soon, he turned to gangs and crime giving both his all which resulted in an extensive juvenile sentence at only 14. At 18, he was released but continued on with the same lifestyle. He only found himself shot, stabbed, and locked up a total of over 11 years out his life.
         Never losing his love for music, he would sing in prison for other inmates to pass time and earned the nickname "Jukebox" because he would sing any song that was requested by other inmates. After a while, he got tired of singing songs from mainstream artists and he began to write his own. Eventually, he decided he spent enough of his life dedicated to everything but his passions. It was time for a change. Now with the urge to share his story of struggles and overcoming them, Promise has began working on 2 mixtapes at the same time because of all the' time loss. One titled "THE REDEMPTION" and the other titled "PROJECT X. 
      Promise is a father of four and feels that he is on the verge of success. He represents the rebels and those who feel stuck in the struggle and believe there's no way out and no better days. He wants people to feel his message, "there is a light at the end of the tunnel, we just gotta continue to fight".

Find his work at:
Youtube.com (Promise Edwards)
www.promise1me.com

#KREWLIFE

MGMT:
fiona@small-town.co

Booking: 
asia: robb@supermodifiedagency.com
eu: paul@primarytalent.com

Official Website: https://sinimabeats.com

https://phantogram.komi.io/

Fall In Love Again (Desmond Remix) Out Now
Move In Silence feat. Big Boi Out Now

Sparked by a color or song that recalls the most joyful and tragic moments in your life, a sense memory vaults you into the distant past. These subtle triggers remind us that memory isn’t confined to the mind; it lives in the body, too. Phantogram’s fifth album, Memory of a Day, captures that disorienting sense of time travel. “We put these songs together as a capsule, thinking about how a certain sound or melody can bring you back instantly to a memory of a day,” Phantogram says. 

While they were recording, the duo fixated on life calendars, a gridded sheet in which each unit represents a single week of a person’s life on the planet. As you fill in the grid, you witness the progression of your life in stark terms. The older you get, the darker the grid becomes, reminding you of how much time you have lived, and how little you may have left. “It’s this exploded view,” Phantogram says. “Like an image of Earth from a distance.” The life calendar is both morbid and nostalgic, a physical representation of our ephemeral time on Earth. 

“Days are only numbers,” Sarah Barthel sings on the chorus of “Come Alive.” That lyric became a north star for the duo as they set forth to make Memory of a Day. At once heavy and ebullient, “Come Alive” distills the lasting impact Phantogram has made on popular culture. Since their 2010 debut, Eyelid Movies, Phantogram has been comparable to no one, futurists who still manage to stay ahead of the curve more than a decade into their career. Their genre-bending approach to pop has led them to work with everyone, from Big Boi, with whom they founded Big Grams, to Subtronics, Future Islands, Deftones, the Flaming Lips, Tom Morello, and Miley Cyrus, to name just a few. A festival staple across the globe, Phantogram has also toured with Queens of the Stone Age, Arcade Fire, the XX, and many more. “We’ve always been proud of that: not being afraid of the experimental.”

Though their music has always been future-facing, to make Memory of a Day, Phantogram looked back. “Recording this album, it felt like how it did when we first started making music together,” Phantogram says. Alongside special collaborators like Mikky Ekko and Dan Wilson, Phantogram was joined in the studio by producer John Hill, who helmed Phantogram’s second album, Voices. The duo experimented in the studio and indulged in the music that brought them together in the beginning, artists such as J Dilla, Prince, Slowdive, and so much more. They reference new wave acts like the Talking Heads, ESG, and Liquid Liquid as influences on the percussive punk track “Feedback Invisible,” which is followed by the wistful burst of color “Attaway.” It’s a shoegaze song so sumptuous “you can almost see the grain in the guitar sounds.” 

Phantogram think in images when they write, drawing on scenes from films that linger with them years on. “Ever since Eyelid Movies, our work has been visually driven,” Phantogram says. In the video for the fuzzed-out waltz “All a Mystery,” snippets of human lives coalesce into a montage of experience. “Erase all the tapes in my mind/ Throw them all away,” Barthel sings, accompanied by a bittersweet swell of synths. “Turn back the tables of time/ Let all those memories die.” A swirl of memories, both triumphant and tragic, surface on Memory of a Day. “Come Alive” was written after Barthel experienced a transformative live show on her own, while the title track recounts the moment Josh Carter had to put his dog down. “It’s what you wanted, but couldn’t say,” he sings. “I’m not afraid of dying or what it feels like”

The album’s penultimate track, “Happy Again,” is a thrumming, bass-heavy rock song with a chorus that sounds like a wave crashing against the sand. “Another empty summer sunset/ Feeling homesick,” Barthel sings ahead of the bridge, her voice catching on the breezy, luminous production. “Can you believe this is your life?” It’s a moment of realization Phantogram compares to the dour scene in Forrest Gump, where Lieutenant Dan, “mega depressed and drunk,” throws a bummer New Year’s Eve party. Still, the song ends with an enlivening mantra. “I can be happy again,” Barthel repeats as guitars careen and crash. If days are only numbers, then how else can a person measure a life? On “Ashes,” the answer seems to be in moments of resilience. Based on the adage “you came into this world alone and you’ll leave it alone,” the throbbing production infused with elements of trip hop, shoegaze and indie accompanies Barthel as she reminds the listener: “Ashes rise, ashes rise.”

When they penned the lyrics, Phantogram thought of the mythical phoenix spreading its wings after catastrophe to take flight. The vulnerable, even despairing moments on Memory of a Day are stark, but they’re buoyed by a relentless optimism that has driven this project from the outset. In the Los Angeles studio where they recorded Memory of a Day, Phantogram often marveled at the distance they’ve come, both physically and spiritually, since they first started making music together in a barn in Upstate New York. “Tomorrow never knows,” Barthel nods to the Beatles on “Come Alive.” The accumulation of days together tell a story bigger than any finite lifetime, and Phantogram’s life calendar is only a fraction full.

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