Sainté – A New Leicester Cinderella Story

I guess there is something special in Leicester City water. Last decade, East England’s small city brought the world one of the most exciting and substantial international cinderella stories. The local football team won the Premier League title against all the odds. This fantastic journey for glory may give some of the citizens’ appetite to do the same and achieve their dreams, even if some of them seem unreal at the beginning, hence it is hard to explain the enormous breakthrough of Sainte, The Leicester native rapper. 


‏Sainte’s rising is surprising in manners of where and how he started to make music. As a semi-professional basketball player who got a scholarship from a domestic university, none of the road signs in his life could clearly forecast he would rap one day, so to see him rap so well is somehow a sensation and all the more exciting. He got his love for Rap from his brother and friends that used to freestyle; Yet, he still never looked at music as more than a hobby, but life had different plans for him, and after the success of his E.P., he realized that he doesn’t have a real choice here, and making music is the path which was meant for him.

Sainte’s music, in some way, takes advantage of two worlds; admirably, he makes a fusion between the luxurious U.S rap scene and the signature sound of the U.K. scene. Although he obviously belongs to the U.K Scene, the deep connection to his origins and his heavy British accent conclude that Sainte has a set of skills that make him feel like a hybrid creature, a different artist in the rap land space 


‏His rap style reminds us of some artists from the U.S.; his smooth flow and sharp delivery make him sound a bit like Freddie Gibbs, who, by the way, he literally mentioned as a strong musical inspiration. Like Gibbs, Sainte’s rap is accurate, tight, and seems to come to him without any particular effort; it feels like he is cruising on a beat, spitting his bars automatically on timing.‏

His breakout single, “Champagne Shots”, was written spontaneously while hanging out with his buds. The track demonstrating Sainte’s abilities and character and presents him positively as a humble artist, with lyrics that reflect his day-to-day reality as a young man.

Another quality aspect of his music is related to the productions; Sainte almost regularly works with Parker Jazz Keegan, the LA-based producer. This special connection that began with a humble online chat continues to work fantastically to this day, and this collaboration flatters both sides. Parker productions are identified with the west coast’s sound and strongly influenced by jazz and R&B, helping Sainte in his mission to blend the two scenes in his music. No doubt Sainte’s catchy flow takes only the best from parker’s wavey beats. 


‏Nowadays, after gaining recognition with his incredible debut and his relocation to London, our expectations from him are at their prime. Sainte has to raise the bar. To be more than a one-hit-wonder, he needs to add new qualities to his music, manipulate his delivery and flow, improve his lyrical ability, explore new sounds, and strive to develop himself as a more versatile artist. If all that was mentioned above would really happen, who knows, maybe Leicester will introduce another huge sensation to the world.

Not “Primo”…Not “Premo”… It’s (P-R-E-E-M-O)…

Christopher Edward Martin, better known as D.J Premier or Preemo, is an American hip-hop producer who active since 1987 and one of the most crucial figures to ever do it in this scene. In almost 35 years at one of the most demanding workspaces globally, an industry that sanctifies the new over the familiar consistently, and if you can’t reinvent yourself, you kick out faster than you get in. Yet, more than just surviving by reinventing himself, Preemo wisely used his knowledge and mighty talent to keep adding new ideas into hip hop, change the culture, and make his indelible mark on history.

Premier was born in Houston and moved to Brooklyn in his teens, and where he first met Guru, a Boston native rapper; Preemo joined for Guru collective “Gang Starr”, an hip hop duo, which signifies the opening shot for his career. With the novel style they present in the gang-Starr catalog, Premier and Guru introduced hip hop to something hardly missing. Back in the days, the hip hop samples were mainly taken from funk- disco tracks; by using jazz samples in their songs, they created a new sound that quickly became popular in the scene.    

In the ’90s, after the grand success he managed to obtain by his work in Gang Starr, his name went miles ahead of him, and he started to produce for other rising rappers on the east coast. During this period, Premier in practice set the sound that became identified with the golden era of rap.

In 1994 alone, he produced some of the iconic hip-hop tracks of all time, working with Nas’ Illmatic, Biggie on Ready to die, and exclusively produce an album for Jeru The Drama. By this time, to get a beat by Preemo was like having a cheat code. Like Dr. Dre’s work at the west coast, Premier productions designed and defined his era’s sound in the east side.

In the 2000s, Preemo keeps growing and spread his work out of hip hop, and got a commercial success, which led him to produce Cristina Aguilera album and many more artists from the pop culture. Even though the underground audience was disappointed to see their legend make pop, he stayed true to his roots and maintained his music quality.

Despite all of the above, Premier’s influence and legacy on hip-hop are still underrated and need to be discussed more. He brought jazz samples, greatly responsible for the sound which defined as the best years of the genre. He keeps himself fresh and unique throughout his career thanks to hard work, one who learned from the pioneers and kept teaching generations over generations; D.J. Premier is a legend!  

The short sample loops, the perfectly timed scratching, hard-hitting drums, deep bass lines, all held together by slightly behind the beat groove, his tracks described as aggressive, gritty, and raw, yet, they also have contained much flow and logic in them.

D.J. Premier tracks tend to be characterized by short sampled loops, perfectly timed scratching, hard-hitting drums, deep bass lines, and lots of weird background sounds, all held together by a slightly behind-the-beat groove. His tracks are frequently described as aggressive, gritty, and raw, but they also have impressive and infectious flow and logic.

Album Review: J-Dilla – Donuts

It’s insane to think that while he was sitting in the hospital bed, far from his beloved studio, bearly walking and suffering from his rare blood disease, Dilla was able to inspire himself to make a masterpiece like Donuts. Or maybe albums from that kind only could be formed in a particular atmosphere while you are knocking on heaven doors because this body of work defines and assume things are arbitrary and belongs to the future.

In 31 tracks deployed along magical 44 minutes, Dilla showed how to create a sample-based instrumental hip hop album flawlessly, manipulating each sample, aiming to redefine it, and giving new meaning to every tune he used. Composing vast of genres and proving he is an expert across all the genres he deals with. This masterwork could feel like big chaos in a first listen, Dilla gathering all the musical genres and force them to meet head-on. It is unordinary to hear in one record soul, jazz, prog rock, electronic, and many other musical styles that communicate perfectly.

The production in Donuts is not similar to Dilla’s aesthetic as a beatmaker, neglected the smooth beats and the spacing identified with him, and designed it as a mixtape. Yet, even if mixtape crafting was what Dilla aimed for in this one, he achieved more than that because Donuts formed new perspectives and hip hop, music, and even life, underlying ideas deeply rooted in the music scene.

The album was released on the 7th of February, Dilla’s 32nd birthday. Only three days before his death, it is symbolic that Dilla spends his last year on earth to create an album that admirably represents Dilla’s legacy.

In Donuts, Dilla demonstrates he is much more than a beatmaker or hip hop producer; he is a pure musician, an innovative artist who consistently pushed musical limits, experimenting with sounds that people afraid to explore. This is the closest hip hop ever get to post-modernism art, a work made by a genius. 

More than a collection of beats, Donuts is about a listening experience; only one track is longer than two minutes