Brother Ali has no reservations in saying that he’s “trying to be one of the greatest of all time” (on the Molemen track “Life Sentence”). Inspired by golden era legends like KRS-One and Rakim, this undisputed Master of Ceremony began rapping as a means of survival. 

Growing up albino (colorless hair, skin and eyes, poor vision, and extreme sensitivity to the sun) in a world of cruel kids made it strikingly obvious to Ali that he needed a high-powered way to earn some respect and prestige among his peers. As a result, ever since elementary school he hasn’t slowed down with his lyrical grind. In his rare moments of silence these days, if you catch his eyes, you’ll notice that this Minneapolis denizen is rapping in his head. For Ali, hip-hop doesn’t stop when he exits the studio or stage.

Around the turn of the millennium, Rhymesayers Entertainment couldn’t overlook Ali’s talent and drive when he submitted his self-produced demo, Rites of Passage. This rare, cassette-only effort features collections of rhymes, poems, and stories that he wove into his live sets. Its release help make him a welcome member of the RSE family alongside Atmosphere, Musab, and Eyedea and Abilities.


In the more than 15 years since the last Clipse album hit the shelves of record stores, the music world has been upended several times over. “You see great rappers all the time,” Pusha-T says, before contrasting he and his older brother Malice with those who are not truly of the culture. “But there's something a little off about it.” Let God Sort ‘Em Out has no such problems. Over 13 taut, kinetic beats from longtime collaborator Pharrell, Pusha and Malice exorcise demons and catalog areas of personal growth—without ever sacrificing the menace and minimalism that made them legends of the genre. It is a master class in maturing without abandoning one’s core identity, but rather deepening it, making it more three-dimensional. “The fact that it has remained viable for so long has allowed me to say, ‘Hey, this must be meant to be,’” Malice says. Let God Sort ‘Em Out is an instantly unforgettable contribution to the duo’s catalog, and to hip-hop writ large, filled with the type of razor-toothed exercises that made Clipse icons in the first place. Take the taunting “Inglorious Bastards” or “Marie Kondo,” which scoffs at “60-day stars and 20-year thousandaires.” The beats, which Pusha describes as “polarizing,” are urgent, technicolor, and hold plenty of space for the vocal to become the track’s most important instrument. The need to be authentic is paramount, but it’s also natural to these two. Perhaps Malice puts it most clearly: “Nothing else works for us.”

my name is D-Sisive.
this is where i post rap songs.

Stephen Wilson Jr. is a singer/songwriter from rural Southern Indiana. Self-described as “Death Cab For Country,” Stephen Wilson Jr. draws upon indie rock, grunge and country to create a distinct sound that is influenced by artists as diverse as The National, Willie Nelson, John Mellencamp and Nirvana.

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Wilson was raised by a single father who was a boxer and had him boxing from age seven through adulthood as an Indiana State Golden Gloves finalist. The self-taught guitarist moved to Nashville to pursue a degree in Microbiology at MTSU, where he started indie rock band AutoVaughn after finishing his degree. After five years of touring the world as lead guitarist with AutoVaughn, Wilson turned his creative focus toward songwriting and singing. After the band, Wilson relied back on his education where he worked for several years as an R&D scientist at Mars until signing a publishing deal with BMG Nashville in 2016. His songs were soon recorded by acts like Caitlyn Smith, Brothers Osborne, Old Dominion, MacKenzie Porter, Sixpence None the Richer and Leigh Nash.

 

Wilson went on to self-release several songs of his own including, "the devil", "Year To Be Young 1994", "The Beginning", "Holler From The Holler" - which won 6 independent film festival awards for its accompanying music video - and "billy", which caught the attention of Billboard who featured the single in its ‘Makin’ Tracks’ column. Wilson went on to tour the US and Europe with acts like Brothers Osborne, Midland, and Cadillac Three developing a global base of music fans enamored by his emotive performance, skilled guitar prowess, and powerful vocals.

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In March 2023, he signed to Big Loud Records, and released his debut EP bon aqua. The seven-song collection compiles 6 previously released songs and the brand new single “American Gothic” (feat. Hailey Whitters). Wilson joined Whitters on road as direct support for her Raised Tour and is scheduled to support The Lone Bellow this Spring before performing at Bourbon and Beyond Festival, FairWell Festival and CMA Fest later this year. He is also scheduled to appear at London’s Black Deer Festival and Highways Festival at Royal Albert Hall this year.

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