anonymous

wow, I love this interview! album of the year territory for me <3

Finals

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The 1Alkebulan Interview

Tony Adamopoulos

LIRR

![IMG_7381.jpeg](https://finals.blog/api/uploads/IMG_7381_f29630d639.jpeg)

*Photos by Atoosa Moinzadeh*

After years of knowing him through my headphones as someone in the New York rap underground who killed guest verses, I first encountered Theravada IRL this summer, real name Xenophon (he pronounces it Zen-a-fin) at one of my Generator events with Laron. He was facing joints outside, and then inside, I remember he was like solemnly nodding his head and absorbing Laron’s set.

I also remember they were both outside at another point, smoking 100 joints and having a semi confidential conversation on the sidewalk on President Street about upcoming Earl Sweatshirt music. Xen under his breath mentioned to me he was involved, and that a serious project was on its way. I remember thinking damn I gotta tap in with the solo music and production and DJing…it was the Earl cosign that made me think this was a heavy artist I had been sleeping on. 

![IMG_7383.jpeg](https://finals.blog/api/uploads/IMG_7383_db96bfa505.jpeg)

And I was, but I’ve been fixing that. Recently we all found out he produced about half of Earl’s Live Laugh Love (shout out Chastity Belt), which is Earl as a relatively young dad alternately puffing his chest and letting lullabies creep into his technical, clever raps, with lyrics melting into Theravada’s samples. Theravada’s “[Tourmaline](https://m.youtube.com/watch?v=q_nwxIIUVAw)” is the standout, the single, with a slo mo video by Devlin Claro Resetar, the best to do it since Kahlil Joseph. (Shout out Laron too, who isn’t on the album but produced the SoundCloud-only warning shot which preceded it.)

And then Theravada put out his own album, [The Years We Have](https://its2000.bandcamp.com/album/the-years-we-have), which is on the same level and in the same ballpark, and which I see as a companion the same way Baby and Swag are companions, I guess making Earl Justin Bieber and Theravada Dijon?

That’s a bad metaphor maybe, but The Years We Have is the same vibe but chiller than LLL, self produced, starring a Queens Greek American playing basketball “in Maharishi sweats,” shooting at a rim that “looks mad small” and making shots. There is nothing haphazard about TYWH: it’s made of methodical stimulating loops and surgical cuts that display a real ear for how to “let the sample speak to me,” as Cash Cobain once told me, with low voiced raps that convey wit, folk wisdom, reflections on disability, flexing, double meanings, earnest directness…and lots more that I am still interpreting. At one point I thought Theravada was talking about SI meaning suicidal ideation, but he was rapping about Stone Island. Shows where my head’s at maybe. 

![IMG_7379.jpeg](https://finals.blog/api/uploads/IMG_7379_c5355715a4.jpeg)

Off meeting me at Generator, he invited me to the TYWH listening party at a secret weed den in Manhattan, with branded pre rolls. I took the train in and ended up sitting in an oval with YL, Starker, VIP Skylark, and Laron. We listened to the album in a daze. YL asked me what I was listening to lately and I couldn’t even think. Starker rolled a Dutch Master. Old school. People had crazy concentrates, were feeling each others shirt material (there was a fashion bro contingent, Xen works at Undefeated), and someone offered me mixed up codeine and soda (I declined). I randomly went home with a gifted Carti Preme tee, chalking up the convo, experience and the merch as part of being in Xen’s orbit in the city. Everyone’s high, streetwear falls out of the sky, everyone is an artist. 

A few days later Xen and I met up at CWW Radio Shop in Crown Heights, where Laron and I throw Generator, and the homie Atoosa snapped photos on film. We chatted in his dented Scion as he drove Atoosa to the train (generous), wearing Action Bronson wraparound shades and talking about how cool it is that DJ Red Alert still has a show on WBLS. Then we went back to my place and shot the shit for 90 minutes on my stoop before he went to a bbq in Bed Stuy. On my stoop I got to know Xen better, hearing about his parents’ immigration story (Greece, Philly, Queens), his assessment of where he grew up on Long Island (“I didn’t jack my high school”), and his experience going to Queens College as a star teaching student, whose videotaped practice classroom demonstration is currently part of the permanent archive of the program, because professors thought it was so good they wanted to show future students. 

![IMG_7378.jpeg](https://finals.blog/api/uploads/IMG_7378_8326d66ce4.jpeg)

I learned how he doesn’t make beat packs for rappers, except Roc Marci, how weird it felt when he and Earl Sweatshirt locked themselves out of the house in LA that one time, and how he produces on Virtual DJ (I love that). I learned he has lately been vibing with his DJ uncle over ’80s music, and he counts as a formative experience hearing “Ether” when it dropped with his cousin, whose “sleek” Celica he coveted. 
I think Xen smoked through the whole recorded convo. Playback reveals an enthusiastic conversationalist with a digressive thought process that may be baseline or may have been influenced by the weed, and the fact he did two interviews the day before. 

Now is his time. I think that’s why I wanted to connect for the photos and a dedicated chat at this point in his career, aside from hey here’s a new person in my life and I’m interested to know more. He seemed completely aware of his newly higher profile but what is he gonna do differently? 

![IMG_7382.jpeg](https://finals.blog/api/uploads/IMG_7382_d2642fc3b8.jpeg)

I think what he does may be trendy or bankable at times, and may at other times be marginal or under regarded. It’s a steady job, today, and he rocks stages internationally, but it’s not a scheme or even a strategic endeavor in any way other than to be respected by elders (“that’s special, they’re the inventors”) and to make 100% organic moves while creating an enduring catalog. He’s been in the game for a long time and he comes off uncompromised, focused on the music and not the clout, still making solo beat cassettes for fun (a new one surfaced this summer), while producing on major albums and continuing his own arc of basically timeless music. What else is there to do but roll another one and proceed? 



Getting To Know Theravada

JBIRDGUY

HappyParts

I'm old and I say this is some slap drip floss 

![IMG_2844 (2).png](https://finals.blog/api/uploads/IMG_2844_2_efc63d9c9e.png)

![IMG_2705.JPG](https://finals.blog/api/uploads/IMG_2705_62bf5340d6.JPG)

![IMG_2716.JPG](https://finals.blog/api/uploads/IMG_2716_656850faba.JPG)

<iframe style="border: 0; width: 350px; height: 470px;" src="https://bandcamp.com/EmbeddedPlayer/album=3706010832/size=large/bgcol=ffffff/linkcol=2ebd35/tracklist=false/transparent=true/" seamless><a href="https://finals.bandcamp.com/album/finals-friends-rumored-to-be-among-the-best">Finals + Friends: Rumored To Be Among The Best by finals</a></iframe>

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FINALS.BLOG (2020-present) presents “Rumored To Be Among The Best” by Finals + Friends, a compilation of original exclusives by friends of the blog, out June 5, 2025. The single is out now on bandcamp, [soundcloud](https://soundcloud.com/friendsfinals/finals-friends-stas-thee-boss) and [YouTube](https://www.youtube.com/watch?v=8hcR-C4DCiU), "Pretty Boy In Spring Colors" by Stas THEE Boss. 

Curated by Finals, the comp is 11 tracks of unique/elite music from the American underground. 

Thank you to the artists for the music. Thank you Suspence for the idea. And thank you Suspence and Gabe Weisbuch for the cover art.

Questions or comments? Hit rumoredtobeamongthebest@gmail.com

Liner notes:

**Suspence - BEAT Nineteen**

Longtime Seattle-based DJ and producer Suspence came up with the name “Finals,” and contributed half our 2020 mag which we dropped when the blog launched. While musically active in PNW clubs and in rap groups for decades, he has recorded only one (1) mix, a masterful edition of KEXP’s Midnight in a Perfect World, and has almost no solo music out.

**Khris P - HUNNA ROUND prod Gary**

Originally from St. Louis and now living in Tacoma, WA, Khris P first came to my attention as a producer and rapper in the now broken-up Tacoma group ILLFIGHTYOU in the early 2010s. Lately he has been focused on rapping. I produced an EP with Khris and his IFY bandmate, Glenn, in 2022, called GIMME INDIE ROCK, and since then, Khris has been crazy prolific, dropping six albums largely produced by a local enigma known only as Gary. 

**Stas THEE Boss - Pretty Boy In Spring Colors** 

Stasia Irons does it all. She’s a producer, rapper, singer, organizer, writer, recently a movie scorer (dream hampton’s It Was All a Dream), and an all-time performer going back to the mid-2000s. Currently based in Portland, OR, you might know her from her involvement in the Black Constellation crew, her DJ collective Sway & Swoon, her party Latifah, or from the now defunct group THEESatisfaction.

**10.4 Rog - grownups** 

Hailing from Renton, WA, and now located in Los Angeles, the producer, multi instrumentalist, and video director 10.4 Rog has built a cult following for his Dilla-esque rap and R&B production, differentiating himself from everyone else in that lane with his superior feel, and skills as a piano player. 

**Laron - dance dance!** 

Brooklyn producer Laron is mind-blowingly good at a full range of styles, with a discography including albums with very different MCs Jay Critch and Jadasea, credits on projects by MIKE and maassai, and beat tapes that call to mind the experimentalism of artists like Madlib, and Laron’s close friend and collaborator Tony Seltzer. 

**zayALLCAPS - popshuvit!**

Producer, rapper, singer, and indie label entrepreneur zayALLCAPS makes songs about love, anxiety, manic episodes, being validated by the homies, and striving for excellence, from his adopted hometown of LA. We love the Sacramento area native’s creative chord progressions, camouflaged samples, distinct “newstalgia,” and writing from the heart.

**Tomu DJ and YoungLove Erix - no service (demo)** 

The Bay Area’s own Tomu DJ produces all types of  music for the club or the headphone, both solo and with other producers (like kimdollars1), as well as with vocalists who might talk or rap on the track (like YoungLove Erix). She also makes sublime R&B club edits, organizes the West Oakland Music Festival, and is an adventurous DJ in an open-format style, sometimes with a reckless disregard for what’s deemed cool or tasteful. She makes that shit work.

**kimdollars1 - the ecstasy of communication** 

After Finals interviewed West Manhattan born, Austin, TX based producer kimdollars1 aka DJ kimila a few years ago, she started writing and contributing DJ mixes to the Finals universe, flexing her deep knowledge of rap, and gaining skills as an interviewer. We are grateful to publish her work and remain massive fans of her beats and mixes. 

**Dear Nora - sinaloan restaurant (Finals remix)**

Dear Nora, the morphing solo and group project led by songwriter, guitarist, and singer Katy Davidson, perfected PNW indie rock around the turn of the millennium. Now splitting time between the California desert and Brooklyn, their guitar music has grown more elegant, and more gently transportive.

**fish narc and Winston Hightower - odd save - snip**

fish narc is a living bridge between 2010s DIY spaces and soundcloud rap, whose musical arc has gone from hyper-aware PNW rock to producing for Lil Peep (RIP) and now back again to his roots as a guitar player, singer, and bandleader. Winston Hightower is his label mate on K Records, aka the label Kurt Cobain had tatted.

**Matson - Tele**

I made this short instrumental with my Telecaster during the height of COVID quarantine times, which is when we launched Finals. Listening back reminds me that end times can also be beginning times, and especially when we are scared about the future it can be therapeutic to sit down and try to calm yourself by creating something. I am struck by how this song reflects none of the stress and anxiety that overwhelmed me when I made it. 



Finals and Friends: Rumored To Be Among The Best, Liner Notes

Dom P 

Dope interview dope spot dope interviewer 


Finals 

![photo-output.JPEG](https://finals.blog/api/uploads/photo_output_c6ea4a681c.JPEG)

*All photos by Atoosa Moinzadeh*

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You maybe know Goya Gumbani from his [NTS Radio show](https://www.nts.live/artists/105610-goya-gumbani) running for the past 4-5 years, or maybe you know him from the many fashion brands’ lookbooks he’s modeled for. Or maybe he’s in your creative constellation in Brooklyn or London, his dual homes.  

If you don’t know him, now’s the perfect time to get familiar, with his proper debut album Warlord of the Weejuns having just dropped on Ghostly, a 2025 continuation of the jazz rap of the ‘90s that was swirling when he was a kid. After years of one-off songs, guest features, and collaborating on joint projects with other artists, this is his own vision of smooth, Negroni-sipping, loafer-wearing hip-hop. 

We chatted at CWW Radio Shop record store/event space in Crown Heights about his new album, which features a cast of friends, like Ya Ya Bey, Joe Armon-Jones, Swarvy, lojii, Franky Bones, and hella others, and also about loafers and how they affect they way you move through the world, and the concept of embodying one's art. 

--

**I was just saying, we’re at a bar right now, and you’re drinking liquor. Can you think of a few times alcohol shows up on the album?**

Aight. Yeah. On “Lizards/Dancing With the Devil,” one of the lines is like “I need the elixir, and a mixer, and a twist of fruit.” 

**You got a skit in there where they’re talking about “top shelf” something or other.** 

Negroni. They’re talking about Negroni. That’s my drink. I’m in my 30s now, i’m not drinking for sport, I’m drinking for leisure at the end of a crazy day or week. And I like something that you’re not gonna drink mad quick. With each sip, it hits a little different than the last one. Powerful drink. Not for the faint hearted. 

**Congrats on the album, we’re talking on album release day. It’s a very collaborative album, although the spotlight is on you and it’s your proper debut. How many people was the core group who worked on the album?**

There was a lot of collaborations on the album. When I was starting, I was like it’s my first one on Ghostly, I was like if i could ever do anything I wanted, I could do it now. But then I started to realize, there was no connection between me and some of these people I wanted to work with. There was no musical connection. I feel like, with music, you meet artists that understand that we serve music. And then you meet artists where, this is about me, or about something that’s not really about the music. So, when I started I was like I wanna work with all these people, but I wasn’t getting the love for the music. 

**You had some missed connections?**

It was more like, now wasn’t the time. They had their vision and I had mine. But I wanted people who really cared about making something that would stand the test of time, and be as motivational and inspirational in 100 years as it is now. And the first few people I reached out, that wasn’t really their vibe. It was more like, this is my fee, to even think about this. And I was like, bruh, I don’t even know you. I wanna sit down with you for six hours, and like…

**It was too industry.** 

It was quite industry. So I went with the type of collaboration I did because of the sense of community around me. I worked with the people who really fucked with me. I was like, I wanna work with you but I’m directing this whole thing, and they were like we wanna get on board. We wanna help you get your vision out. We wanna lend our creative vision to yours. In a way that’s about more than streaming, or plays, but more like us serving the music. 

**It sounds to me like you went looking for something, and then when it didn’t work out, you let it come to you. Is that true?**

Yeah. I let it come to me. And I looked more inwards than outwards. I was like, I’m really grateful for what’s going on around me. When you’re in a world, it’s sometimes difficult to appreciate it. You go looking far and wide, and it’s right on your doorstep.

**Would you say everyone on the album is the homie?**

Every single person. We’ve all sat for 8 hours, made music, ate food, and watched YouTube, and Netflix, and Tubi…

**Not Tubi.** 

Or I could go as far back as Limewire. 

**Did you come to everyone with a vision?**

What I did was, I got into this practice. I got this from D’Angelo, where he would go to the studio and listen to music and watch videos. 

**Oh like with Questlove, watching Prince videos.** 

Exactly, the Prince shit. So I was going to mad people’s houses and studios and the first thing we would talk about is, have you heard this? What you been listening to? I would be like, this is the vibe. I was playing people, Brown Sugar, Voodoo, LIke Water for Chocolate, the Last Poets’ first album, Gil Scott Heron and Brian Jackson’s album, and Miles Davis – Miles Ahead, On the Corner, Shades of Blue and Sketches of Spain. Before I would start the session that’s what we would listen to. 

![Screen Shot 2025-03-31 at 7.02.44 AM.png](https://finals.blog/api/uploads/Screen_Shot_2025_03_31_at_7_02_44_AM_6cd43ae6b1.png)

**Was it like a test? Like if you fuck with this music, you’re worthy?**

No, because they knew all that music. They already made jazz, and love hip-hop, and love reggae. And there was a lot of understanding of music – I’m kind of new to that. 

**It’s a very live band-y album. Who’s performing on Tuesday in New York?**

This kid Buzz on drums, Clint on piano, and a bass player named Evan, played a lot of stuff with Ya Ya Bey. All New York people. Evan is from Queens, Clint and Buzz live in Brooklyn. 

**What iterations have you done on stage?**

I’ve done three piece band, four piece band, five piece band. I’ve done me and a DJ. And me solo, me, and SP, and a Kaos pad. Kind of an artistic thing. A little more than a rap show. With this album, I knew I wanted to do more of a band thing. And I wanted to go outside the box, and make it from scratch. And any band, I wanted them to be able to musically read it, and also feel the groove. 

**So when you play in London, will you play with the people you wrote it with?**

Some of them, there’s a guy who helped me weave it together. Franky Bones. He produced the second song, the second to last song, and the song right in the middle. So when you listen to those three songs, the same chord progression runs through all of them. “Beautiful BLACK,” “Uptown Mami Skit,” and “Mind, Body, Spirit” with Seafood Sam. 

**“Uptown Mami Skit” she’s like what the fuck is a Weejun?**

She’s from uptown, ha ha. Shout out Liz. 

**They wear loafers in Harlem though.** 

They do, they do. Her pops got loafers, I’ll tell you that much. 

**How crazy is that, you named your album after a loafer. Are you wearing them right now?**

I am indeed, I would be so off-brand if I wasn’t. 

**Are those Gucci?**

No Maharishi with GH Bass, army camo embossed. Under the right light, it’s a movie. 

**Is it a corporate sponsorship?**

Hell no.

**That’s so much free press. **

I mean, fuck them. Ha ha. But the Weejun, is pretty much the penny loafer.

**They invented it?**

Nah they didn’t invent it. The Weejun was called the Weejun on some, it was like a fisherman’s shoe. A Norwegian fisherman’s shoe. The guy who cleaned the boats would wear like, a moccasin. And they (GH Bass) spoke to some guy and were like, can you turn it into a leather version? For like college n&&&as? It was like for n&&&as who went to Yale. It was made out of rubber before. It was a rubber loafer. It was super comfortable. 

**They should retro the rubber loafer and put you as the creative director.** 

I’m about to do my own loafer soon. I’m gonna make one loafer. And kind of wrap up this whole album. At like the end. One of my homies got a loafer brand, they’re called Horatio, [Horatio London](https://www.horatio-london.com/). And they kind of put me onto loafers. The first pair of loafers they gave me, I’m trying to do a version of that, it’s a croc skin horsebit. 

**So you can’t put the penny in it.** 

You can’t put the penny in it, but they made these versions with the leather strap and then the buckle over it. But we’ll see. It’s probably dropping in summertime, at the end of this album campaign. 

**You gotta drop at the end of summer, for back to school. Back to college.** 

Facts!

**I used to want to be a shoe designer when I was a kid. Did you ever go to fashion school?**

No, but one of my ex ex ex ex girlfriends was a shoe designer and she put me onto how a shoe is made. It’s not easy. It’s a lot of moving parts. She lowkey put me on. She was making shoes when I was just getting into loafers. I was like, this is crazy. She does music shit now. But she was making shoes from scratch. So I learned about lasts, the thing that shapes the shoe, everything. She’s a don for that. She had amazing taste in shoes. I mean, her sneaker game was trash, no disrespect. But she could make a good women’s shoe. And she made a few loafers, too. 

**Are you from Flatbush?**

I’m from Canarsie. 

**And how old are you?**

Thirty-four. 

**So you grew up mostly in the ‘90s. What’s like a classic Brooklyn shoe to you?**

Those Nike boots. Goadome. 

**They’re hard. And they speak to the fact that in New York, you’re often urban hiking. The loafer, on the other hand, screams to me “indoor spaces.”**

Yeah, or like, I’m reckless. I do the most in my loafers. I do the extra shit. At a festival for four days camping. 

**Do you have special calluses on your foot?**

No. I have every type of loafer, for one. The hiking type, the lug sole, the Vibram sole. But nah I just, I wear good socks…I believe in good socks. And never really rushing, bro. Any time I fuck my feet up in loafers, it’s because I’m running crazy, OD running.

**Do you think the loafer changes the speed you move through life?**

You just move a little more like, light. Light on your feet, but elegantly cruising. 

**People say in New York your coat is your car. But I think your shoes are your car. To the point where you move fast or slow, navigating the room, or the way you pivot when you turn a corner, whether it’s a loose ass Timberland, or a svelte loafer…you’re gonna take up space a lot differently in your environment. That’s what I like about style. How it’s about your vibe. I think fashion is for the birds, but style is eternal, and how you live with it. Fashion is for the birds, it’s fatbphobic, and antiblack, and wasteful, and run by white men.**   

Facts. When I think of fashion, I think of like, style is for leaders. Fashion is for those that don’t care that much and kind of go with the flow.

**So true. Fashion is for people with “taste” but actually the people with the least taste who are the biggest partakers. I might edit this out, but I’m doing an event here Sunday, and the homie invited the other homie to come out, and he was like “nah, I don’t really like DJ sets, I like the algorithm.” And here we are at a record store, and some people, who ostensibly are people of taste, would never even come here.** 

There’s people that like, don’t really care about going and seeking out some shit. They just like, OK this is what’s current, I need to be in this mindframe. And there’s people who are like, fuck that. 


![goya5.JPEG](https://finals.blog/api/uploads/goya5_d33872d44c.JPEG)

**And step outside the trend cycle, and to a degree the marketplace.** 

The box. That’s kind of what the album…it’s some shit I walk with anyway. It’s what I stand for. But when I was making it, I wasn’t thinking about connecting with any group of people. It’s beautiful that it does, and a reminder of what art can do, among people. When you put everything into it honestly and wholeheartedly, it can connect with the next individual. 

**I feel the stronger you express yourself, the more contagious your product is. And you express yourself through style, and music, and curation – overused word, and so is creative direction, but you do that. And compared to a lot of musicians, it’s in you. I can tell that, from how you made the album with friends, you can’t fake that, you made those friends based on your personality. You’re coming from a place of like, genuineness, consistently. You weren’t a different guy when we shot your photo for this interview. Same guy.** 

Right, you gotta get into character. Nah. It’s really am embodiment of self. 

**You should be so grateful for that, because a lot of people don’t have a personality.** 

Ha ha. Facts. And knowing all the people on the album, when I step back, I feel really grateful. We have a genuine relationship that’s not even musical…it’s like, what do you wanna eat? Are you hungry? Or speaking on some deeper shit. The music is the canvas, for after that, it’s an energy that you get from the people you admire and care for. 

**I want my daughter to have this quality. Putting out a vibe and people just want to get down with you. That’s dope. It’s probably what makes you have friends, in the place you were born, and in London, who helped you make your album. You have a quality that is prosocial. And I feel like America is so antisocial. So you gotta celebrate when people are open to what could happen between us, you know…maybe something good. Do you think you’re optimistic, as a person?****

I lead with positivity. I’m open-minded. And if you do that, you’ll always grow. 

**A lot of people don’t want to grow, though.** 

More the understanding of what growth is, gets misconstrued. It’s not always linear. 

**Maybe people do want to grow. Attitudes are changing around mental health. Maybe people want to turn inward and be learners.** 

Now is a different time. It’s easy to be antisocial, and a recluse. When I was growing up, you couldn’t really be that. There was no computer in your house. When I grew up Playstation 1 came out. Prior to that it was about mingling, outside. The computer was the family computer, playing solitaire. You weren’t really there. You wanted to be outside. I used to fiend for going outside. When I was grounded, I couldn’t go outside. You can’t do that, now. It’s not a punishment if the kid has everything they want in their bedroom. I’m gonna go on Discord. 

**Yo, I wanted so ask you. Do you listen to Digable Planets, Camp Lo, or Guru’s Jazzmatazz?** 

Yeah, I listened to Jazzmatazz a lot during the early makings of the album. Camp Lo I’ve been listening to all my life. Had no choice. Digable Planets, I love Digable Planets. Ladybug Mecca did a song with Pink Siifu, and I called him like how did you get her on this song? I was like bruh…

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**He’s similar to you, in that it’s in him. He’s musically like putting everything into it. Like you’re getting to know him by listening.** 

Me and him are from the same cloth. And same era, in terms of, we’re baby Miles Davises. And his shit is like, so many different bags. And it’s all still an extension of him. I really admire him, that’s my brother, he’s boundless. There’s no box you can fit him in. He redefines himself, constantly. It’s a weird concept, as an artist, that you can only do what you’re known for. I feel like art is more expression than it’s about giving people what they want.

--

*At this point the event space started blasting music, but it was a good place to end anyway. Thanks Goya!*

The Goya Gumbani Interview

richsince06

Great read would love to own this in print. Laron is the best producer coming out of New York that man has rangeeeeeeeeeee .. .world soon find out and this is a great piece towards to puzzle! Congrats  

CROOKNYC

Nah this interview is mad good and it’s really crazy for anyone to read that’s been OD invested in underground NYC rap for like the past decade or so. I dead remember how nearly all the shit I listened to, whether it was ECW, MIKE, or Jay Critch, Laron had his hands on some fye. Dude is a Goat. 

Featured Post

The 1Alkebulan Interview

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Getting To Know Theravada

Finals and Friends: Rumored To Be Among The Best, Liner Notes

The Goya Gumbani Interview

The Laron Interview

The fish narc Interview