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Tag: Parisalexa

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2 Real

At the opening of 2 Real, the debut full-length album from Parisalexa, a voice asks, “Where are the spaces for people to be real, and to talk about what they’re dealing with?” The artist responds over the nine songs that follow with celebrations of positive energy, whether self-love, body-positivity, or staying genuine, inviting the listener to feel safe in their feelings. “Look at those thighs… You could make a grown man cry,” she sings encouragingly in “Slimthick,” the album’s muscular closer, before adding, “Still a bad bitch, though.” In a five-star review, Taylor Hart over at Respect My Region highlights all the ways the 21-year-old singer-songwriter is wise beyond her years, “empowering women to love themselves for who they are, one song at a time.” Parisalexa is primed to be The Town’s latest mega-star, recently signing a record contract with Ultra Music and Paperboy Records. The video for the single “Chocolate” highlights Black-owned businesses throughout the Central District, encouraging you to support them, as you should.

Here’s another take:

In their annual year-end critics’ poll, The Seattle Times ranked 2 Real as one of the very best Seattle albums of 2020, saying:

The hometown energy has been high around this R&B phenom (who recently skipped to Portland) for years, topping this very poll with her first EPs in 2018. Since her impressive coming out party — which really began in her teens with a strong MoPOP Sound Off! showing — Parisalexa’s songwriting and ear for inescapable pop melodies has only strengthened, culminating on her self-assured full-length debut 2 Real. The ’90s R&B swagger she’s long wielded merges with contemporary pop and hip-hop productions on “Bentley Truck” — an earwormy bounce-along with her ride-or-dies — and velvety single “Chocolate,” an uplifting celebration of her Blackness.

2 Real was created in and features appearances from:

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The Town Love Hip-Hop Awards

At the start of January 2019, Crane City Music invited Seattle’s hip-hop community to pick their favorite WA state hip-hop records from the past year in a public vote. A total of 267 records were in contention for the top prize. A total of 5,498 votes were cast. Parisalexa’s Bloom took home the top prize, narrowly beating out Kung Foo Grip’s 2KFG and Travis Thompson’s YOUGOOD?

The top 20 winners were revealed via an elaborate laser show countdown event held in February at the Pacific Science Center Laser Dome in Seattle. The laser show itself was choreographed by Joseph Reid and Gary Campbell. The event opened with a playlist of ’90s Seattle hip-hop and a short tribute to Sir Mix-A-Lot’s legacy and the 30th anniversary of his debut, SWASS.

A 14-minute film was made by Taylor Hart that captures highlights from the night.

The Town Love Hip-Hop Awards was created in and features appearances from:

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2KFG

In the liner notes for this record, music critic Larry Mizell Jr. says “Kung Foo Grip have always been flamethrowers, but lately they’ve been eating straight gunpowder.” That’s the conclusion reached by anyone who’s heard 2KFG: CityArts magazine declared it their Album of The Month in February, describing its sound as “bass-heavy beats, braced with digitized melodies, classic West Coast minimalism and cloud rap.” Respect My Region states it plainly: “The new Kung Foo Grip album is finally out, and it is fire.” The Seattle Times says it is “infectiously cool… a knockout blow.”

Here’s another take:

In their annual year-end critics’ poll, The Seattle Times ranked 2KFG as one of the very best Seattle albums of 2018, saying:

This versatile hip-hop duo have made a name for themselves with explosive live performances, but emcees Greg Cypher and Eff is H show their true range on the Keyboard Kid-produced “2KFG.” One minute they’re kicking melodic hooks that could siphon Sol fans, while getting grimy with Nacho Picasso on the slithering “Risin’” the next. They have the bars to please purists, but Kung Foo Grip are neither boom-bap throwbacks nor cloud-rap play chasers — a group truly cruising in their own lane.

2KFG was created in and features appearances from:

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Sorry We Lost You

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Sorry We Lost You was created in and features appearances from:

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Bloom

“Bloom is the story of how I fell in love,” says Parisalexa. The seven tracks that make up this project tell a story of personal growth through botanical metaphors. We Out Here magazine praises “the storytelling throughout the project is impeccable,” while CityArts highlights the “lush vocal harmonies that flow over breezy, warm boom-bap textures,” adding that there are hints of soul, jazz, and the ’90s R&B. KEXP adds that Bloom is “empowering, lovely, and elating all at once,” while The Seattle Times calls Parisalexa “one of the brightest young stars in Seattle music.”

Here’s another take:

In their annual year-end critics’ poll, The Seattle Times ranked Parisalexa’s Bloom and FLEXA EPs as the two very best Seattle album of 2018, saying:

Two years after a talented kid with a looping station turned heads at Sound Off!, R&B wunderkind Paris Alexa Williams proved ready for the spotlight this year, debuting with two impressive EPs that earned her more votes than any other act on our list. The now-20-year-old flashes a maturity and confidence — both vocally and conceptually — beyond her years on Bloom. The seven-track main course is about personal growth and self-love through romance narratives. Williams taps the ‘90s R&B she grew up on, brushing piano beats with her soulful mellifluousness on tracks like “Hole in the Ground” and “Dandelion.” The artist on the rise brings a more contemporary swagger to her following FLEXA EP, gracefully spreading her undeniable hooks over bass-heavy beats on “Ballin’ ” and “LV” — an earwormy humble flex about being proud of what you have. The scariest thing about Parisalexa’s breakout year is the fact that she’s still developing her style, meaning the next few years could be even more fun.

Bloom was created in and features appearances from:

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FLEXA

In their annual year-end critics’ poll, The Seattle Times ranked Parisalexa’s Bloom and FLEXA EPs as the two very best Seattle album of 2018, saying:

Two years after a talented kid with a looping station turned heads at Sound Off!, R&B wunderkind Paris Alexa Williams proved ready for the spotlight this year, debuting with two impressive EPs that earned her more votes than any other act on our list. The now-20-year-old flashes a maturity and confidence — both vocally and conceptually — beyond her years on Bloom. The seven-track main course is about personal growth and self-love through romance narratives. Williams taps the ‘90s R&B she grew up on, brushing piano beats with her soulful mellifluousness on tracks like “Hole in the Ground” and “Dandelion.” The artist on the rise brings a more contemporary swagger to her following FLEXA EP, gracefully spreading her undeniable hooks over bass-heavy beats on “Ballin’ ” and “LV” — an earwormy humble flex about being proud of what you have. The scariest thing about Parisalexa’s breakout year is the fact that she’s still developing her style, meaning the next few years could be even more fun.

FLEXA was created in and features appearances from:

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Moonshine

On the opening lines of Moonshine, Cosmos frontman Campana spits, “Just about a year ago, they didn’t know my name and now… I gotta hunch that we’re gonna be colossal.” In September, the group traveled to Paisley Park, MN—Prince’s former estate—to represent the hopes of all Seattle at the national Musicology competition. This was just the latest step on the ladder for a band that crushed the competition at 2016’s Sound Off! battle of the bands. This 2017 mixtape, Moonshine, pulls together a mosaic of influences. While listening, I wrote this perplexing scribble: “math-rock Northern Soul EDM dance jazz rap.” They knit together this wide range of influences into a unified, singular sound. There’s so much sonic goodness to savor here, from the Hendrix guitar axe crash on opener “North Star,” to the house club dub of “Mixed Signals,” or the gorgeously weird moments in “To The Moon” and “Silver Lining.” There’s also a smart choice of featured contributors, including Parisalexa and MistaDC, two talents whose star power has been rising all year. This is shake-your-booty music, channeling all the energy of a live five-piece band, while also engaging in advanced studio trickery. Cosmos’s live shows, such as the 4/20 launch party that kicked off this record, are a highly recommend experience. These guys are destined for big things. That opening hunch ain’t so far off.

Moonshine was created in and features appearances from:

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Running Wild

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Running Wild was created in and features appearances from:

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Hodgepodge

Hodgepodge is a 2017 album from Samurai Del that came out back in February. It’s a polished showcase—a wide-ranging mix that demonstrates the versatility of “The Samurai” as a producer, while also featuring some of the top singers and rappers Seattle has on offer. This album was included in KEXP’s picks of the year which comes as no surprise. You’ll find sweeping synths, smooth EDM/hip-hop crossovers, and inventive sampling, like the vocals treatments towards the end of “Sailing to Japan on an Air Mattress” or the gorgeously sensual “Weightless” (featuring Kristin Henry). “What You Need” is a delightful surprise with Travis Thompson on the mic and also a banging dance number. The collab with J’Von contains one of my favorite verses of the whole year: “She’s like a breath of fresh oxygen, but if the concept of oxidization holds true, then over time I’m breathing toxins in.” (Damn, what a line!) I went to the launch party for this at the Croc 10 months ago and since this record has rarely been out of my rotation. Rappers and singers: Samurai Del is THE producer you want to work with on your next project. Hit him up. Hodgepodge is a treasure-trove of top talent.

Hodgepodge was created in and features appearances from:

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Mirror

I have one of Romaro Franceswa’s “NO ENEMIES” shirts that I wear all the time. In the current climate, it’s a message I like to project. His latest release, Mirror, strives for a certain audio maximalism, There’s an unrelenting quality, rarely a quiet moment. It’s like you’re in the mind of Romaro’s cover protagonist, worked up, nervous, twitchy, steeling oneself with liquor, afraid to look up. The opening of “Forgive Me” starts with a few mumbled lines and then there’s a joke I always laugh at about Kanye getting back to making records. On headphones, there’s lots to listen to, multiple instruments constantly moving in multiple directions. Some great collaborators here: Parisalexa, Ryan Caraveo, Warm Gun, and Ariana DeBoo. A great release from the always stellar Black Umbrella collective.

Mirror was created in and features appearances from:

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Ambaum

It’s been quite the year for 21-year old Travis Thompson: Last week he had a Li’L Woody’s burger named after his delightful 2017 record Ambaum. As a result of his involvement with Macklemore’s Gemini album, last month he performed on a little-known late-night TV show called The Tonight Show, and he’s been a regular sidekick on ol’ Mack’s North American tour, playing stadium shows across the country, including this Friday at Key Arena, where he’ll be standing in front of 17,459 people.

Not that long ago I saw him perform at the Crocodile back bar, in front of a dozen people, so congratulations on the big step up to these much bigger stages.

So let’s talk about Ambaum, his mixtape from August 2016. The Tyler Dopps production on the early tracks, and the pop hooks, and the earnest lyrics might leave you the impression that Travis is a worthy Mack-lite protégé. While I suppose he is—three tracks in, during “Born in ’96,” this record begins to defy those expectations. There’s a tonal shift where Travis repeats a self-aware comment that, while this may be his moment to shine, “every day they make another one.”

Indeed, at 21, he’s already questioning when the next generation will be nipping at his heels. And it’s an inflection point that pushes this record in a completely different direction, more serious and inventive, one of proud underdog autobiography.

Here are a couple of moments I love: When on “Candy & Corner Stores” he raps, “Them kids from the back of the class know a lot more about living than anyone.” Any time there’s a smart, sexy guest feature from MistaDC, Nyles Davis, or Parisalexa. The inventive house beat (courtesy of Nima Skeemz) that closes “Party Favors.”

Also on this closing song, Travis jokes that his music covers the “Lifestyles of the broke and rapping.” Perhaps a little less so after this year of success. Hats off to you, man. That Ambaum burger was solid.

Ambaum was created in and features appearances from:

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All You Guys

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All You Guys was created in and features appearances from:

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