Esnavi (pronounced es-nah-V) is an international “Top 40″ recording powerhouse on OurStage.com. She is a singer songwriter who writes unique and moving music motivated by her real life situations. Her inspiration stems from the likes of Stevie Wonder all the way to Cyndi Lauper, and her background in poetry allows her to able to write meaningful lyrics. Born and raised in Milwaukee,  Ensnavi’s musical calling eventually brought her to New York after her college graduation.

It’s not surprising that Esnavi has an incredibly soulful voice— that’s why we chose to feature her! However, if you listen to her song, “Ding Ding” below, you’ll hear a very poppy sound. Don’t be fooled by her hip hop, soul, funk, blues and jazz fusion. To be a Top 40 recording artist, you sometimes have to stretch yourself into other genres to survive. If you want to listen to some great music, stream a few more of her songs on her OurStage profile here.

Let us know what you think of Esnavi’s music in the comments section below. We love hearing from you!

They don’t make albums like they used to. These days, acts like Lady Gaga, Michael Bublé and  the cast of Glee are keeping it short and cheap with the EP— an “extended play” release that generally features under ten songs for under $10. Sure the full-length, full-price set is alive, if not altogether well, but lately the EP is giving it a run for its online retail money.

Leading the parade of EP-embracing pop stars is Sweden’s Robyn. Rather than following up her 2005 self-titled international breakthrough with a proper album, Robyn released three Body Talk EPs over the course of five months this year. Five tracks from each EP appear on her fifth full-length album, also called Body Talk, which hit stores on November 22nd. Twelve days earlier, another buzzed-about Swedish act, the Radio Dept. released their eleventh EP, Never Follow Suit.

Last year, fellow Canucks Justin Bieber and Drake both preceded their platinum 2010 full-length debuts with successful EPs, and Lady Gaga released The Fame Monster as an addendum to The Fame — a stand-alone set. Not only did it go platinum and launch three Top 10 singles on Billboard’s Hot 100, but it just received a Grammy nomination for Album of the Year (possibly an EP first). More recently, Usher’s Raymond v. Raymond EP spin-off, Versus, went Top 10, as did Michael Bublé’s Crazy Love offshot, Hollywood: The Deluxe EP. Ke$ha‘s Animal sequel and/or companion piece, Cannibal, came out on November 22nd,  followed by Adam Lambert‘s Acoustic Live! EP which arrived this week. Ke$ha’s Cannibal was the first of the recent flood of EPs to spawn a No. 1 single: the one-week wonder “We R Who We R.”

Of course, where there’s a music trend, Glee soon follows. There’ve been three Glee EPs so far, including Glee: The Music, The Power of Madonna, which debuted at No. 1 on the Billboard 200 album chart last spring.

This holiday season, Michael Bublé, Lady Antebellum and Taylor Swift all have Top 40 Christmas EPs, as does America’s Got Talent‘s 10-year-old opera-singing sensation Jackie Evancho. O Holy Night, her four-song EP (with a bonus DVD) entered Billboard’s album chart at No. 2, with first-week sales of 239,000, beating out new albums by multi-platinum superstars Rihanna, Josh Groban, Kid Rock, Rascal Flatts and Keith Urban. The lower retail list price ($8) helped, but EPs are cheaper to produce and usually aren’t marketed as heavily —or expensively — as regular albums, which in recent years have been producing significantly diminished returns on a still-costly investment. When the contents of EPs are mostly live tracks or leftovers from the studio sessions for the preceding album, artists and record labels can reap financial benefits from them with minimized overhead cost.

One already noticeable effect of the EP explosion is that full-length albums (in their original state, minus iTunes, deluxe-edition and Japanese-version extras) are getting shorter. Gone, for the most part, are those marathon seventeen-song sets, padded with filler just so fans can feel like they are getting a lof for their money. More pop stars are wrapping it up after ten to thirteen tracks. The official version of Susan Boyle’s The Gift features ten, while Rihanna’s Loud has eleven, which is the same length as Live It Up, the debut album from American Idol season-nine champ Lee DeWyze. Christina Aguilera and Cher’s Burlesque soundtrack is a concise ten songs (compared to Aguilera’s eighteen-track Bionic from June), as is Duffy’s just-released sophomore set, Endlessly.

Expect the lines between EPs and regular albums to become more blurred in the future, to the point where it’s hard to tell them apart. Fans may end up getting fewer songs per release, but for artists looking to make an easier buck while keeping new music on the radio (or elsewhere) less is going to be so much more.

By Jeremy Helligar

Jeremy Helligar is a former staff writer for People, Teen People, Us Weekly and Entertainment Weekly, who now writes about celebrities and pop culture from his couch in Buenos Aires.

Instrumental hip hop—rappers rhyming over beats recorded by real instruments as opposed to synthesized ones—has always occupied a strange slot in the musical landscape. For some, the organic percussion and other natural sounds come across as anemic versions of the usual blaring bass and skull rattling beats. For others, this “diluted” sound created by traditional musicianship actually better represents the raw talent and musical versatility often smothered by the digital ornamentation in the Top 40 game. Regardless of your stance, know that T.I.M.E. Moves Infinitely, this week’s featured Hip Hop Habit group, perform this genre at its best, and you’d be doing yourself a disservice if you don’t give them a chance.

Another act from the greater DMV’s surging hip hop scene, the two emcees of T.I.M.E. (Taking In Music Eternally) have been at it since childhood. Richmond, VA local Niko began writing at the age of six and eventually reached the immense output of one song a day thanks to the suggestion and encouragement of his mother. His cousin Reggie, a Washington, DC native,  first dabbled in music by playing the clarinet and alto saxophone in middle school. This interest developed into a love of production, and Reggie has been making beats under the alias of Volume ever since. As you may have guessed already, their respective paths eventually intertwined in college to form T.I.M.E.

Their chemistry can be felt in confidence cruising jams like “Jimmy Rockafella Melvin,” a track punctuated by punchy piano chords and straightforward beat. Yet as uninteresting as that may sound, Volume knows what he’s doing.  The chords are jazz-like in the sense that they are dissonant and unpredictable, and more instruments enter throughout, creating a layering effect. To accentuate this oddly appealing beat, Niko, announces his charisma and welcomes listeners to the T.I.M.E atmosphere with phrases like “Yo give me that vibe/ I’m keeping the spirit alive/ You gonna feel me thrive inside/ As soon as I’ve opened your eyes/ You’ve opened your mind/ And now you are no longer blind.” He, like everyone else, is just trying to make it, and encourages listeners to do the same in the chorus line “If you make it/ You know you make it/ Hands up to the sky.”

“Sleep Seekers” offers an opposing message. Wherein the aforementioned track inspired go getters to affirm life to the fullest, this track chronicles Niko trying to diagnose the reason for his seemingly perpetual exhaustion. One would assume that this is the natural response to copious amounts of energy: the hangover after the party. But there’s more to it than that, most notably a young emcee just searching for answers. Lines like “Feelin’ more tired than Obama in his third week” and “It’s unhealthy my body’s been runnin’ for days/ Operatin’ off red bull and fish fillets” relay the obvious, but their counterparts, such as“Just wonderin’ if something is gonna wake me up again/ I’m just guessin’ that I’m on a whole new route/ Trying to get in where I fit in/ And fit in where I stand out” provoke enough thought to keep audiences wondering how and why the flame was extinguished throughout the song. This lyrical content is set against a lush musical backdrop consisting of horns, strings and guitar, all of which combine to come as close to rap’s version of a lullaby as possible.

They’ve made campus radio appearances, and even have a show lined up at the world famous 9:30 club in DC set for this coming Sunday. If you’re into the band, download their tracks for free off bandcamp and let us know what you think about these hip hop cousins in the comments below!

Like many soul artists, this week’s Soul Searching pick was raised on greats such as Ronald Isley and Luther Vandross. Beginning his musical journey in the church at age 12,  Denaron has become a force in the soul and R&B world. Participating in numerous talent shows throughout his teenage years, and winning first place many times, brought his talent to the attention of his fellow competitors. Over the years, these early relationships blossomed into collaborations and subsequently helped Denaron get his name out there to further his career. This type of cross promotion and collaboration is becoming a typical marketing technique in today’s music business, so Denaron clearly knows what he is doing. On the music front, Denaron has become an expert when it comes to writing hooks for rappers, and can be heard on numerous tracks laying down some sweet vocals. Not surprisingly, his music is in rotation on stations in the Houston area. Denaron isn’t just a voice however, he’s a talented songwriter as well. Take for example his song, “Someone to Love”. The track is catchy and smooth, leaving the listener hooked and wanting more. What do you think of the song? Is this something you would listen to? Think he has a chance to make it big? We’d love to hear your 2 cents!

This year was a curious one in GRAMMY world, with some heavy hitters being shut out and some less popular acts finally getting a chance to shine. The ‘Record of the Year’ category is dominated by urban pop, with just one band—CMT Artist of the Year Lady Antebellum (nominated in six categories)—bringing up the rear with their country album Need You Now. Eminem leads the pack with ten nominations for his smash success Recovery, landing on the list for ‘Best Rap Album,’ and “Love The Way You Lie”, featuring Rihanna, scoring nominations for ‘Record of The Year,’ ‘Song of The Year,’ ‘Best Rap Song’ and ‘Best Rap Collaboration.’

Other hip hop standouts include Cee-Lo’s three nominations for “[Forget] You” for ‘Record of The Year’ and ‘Song of The Year’ and ‘Best Urban Performance’.  Jay-Z made the list for ‘Best Rap Album’ with Blueprint 3 and again with newlyweds Alicia Keys (with “Empire State of Mind” up for ‘Best Rap Song’ and “Best Rap Collaboration”) and Swizz Beatz (with “Onto The Next One” contending for ‘Best Rap by Duo’ and ‘Best Rap Song’). Keys’ album, Elements of Freedom was shockingly snubbed from all categories, despite its heavy radio play.  Swizz Beats is also nominated for “Fancy,” his collaboration with Drake, whose debut album,  Thank Me Later earned him a nomination for ‘Best Rap Album,’ while his single “Over”scored him a bid for ‘Best Solo Rap Performance.’

On the pop front, Katy Perry is the front-runner with four nominations for her album, Teenage Dream.  Ke$ha’s debut,  Animal, failed to garner any attention for the saucy newcomer and Lady Gaga’s “Bad Romance” popped up on the shortlist for ‘Best Female Pop Vocal’ but was slighted in the categories of  ‘Song and Record of The Year.’  “Dance In The Dark” earned Gaga a ‘Best Dance Recording’ nom and “Telephone,” her duet with Beyoncé, earned her a nomination for ‘Best Pop Collaboration.’

B.o.B fared well with his debut album, The Adventures of Bobby Ray, earning him five nominations including ‘Record of The Year’ and ‘Best Rap Album’ while his single, “Nothin On You” featuring Bruno Mars is making a run for ‘Best Rap Song’,  ‘Best Rap Collaboration’ and ‘ Record of The Year’. B.o.B’s duet with Paramore front-woman, Hayley Williams is also up for ‘Best Pop Collaboration.’ Meanwhile, Mars came in with seven nominations for his work with B.o.B., his single, “Just The Way You Are” and his work as producer with The Smeezingtons who are up for the ‘Producer of The Year’ title.

‘The ‘Best New Artist’ category seems the most diverse with contender Justin Beiber going head to head with Florence and the Machine, Drake, Mumford & Sons, and Esperanza Spalding (who was curiously excluded for any noms in the Jazz category) for the honor. Usher’s, Raymond V Raymond will go against Chris Brown’s, Grafitti for ‘Best Contemporary R&B Album.’

This is the year of new beginnings. In addition to  Chris Brown’s nomination, fellow tabloid darlings Lee Ann Rimes and Fantasia, whose troubling private lives made very public headlines, end their year on a happier note with nods for the former in ‘Best Female Country Vocal Performance’ and the latter in ‘Best Female R&B Vocal Performance’ and ‘Best R&B Song’ for “Bittersweet.”

There’s a good chance we’ll see last year’s ‘Best New Artist’ winner Zac Brown Band on stage again this year, this time sans stick puppet—2009 addition Clay Cook was unable to accept the award with the band for their win last year because he did not have a credit on their first album. They’re nominated for ‘Best Country Performance,’ ‘Best Country Song’ and ‘Best Country Album.’ Other country favorites Keith Urban, Toby Keith, Carrie Underwood, Gretchen Wilson, Miranda Lambert, Jewel also received nominations.

No huge surprises found among artists in the rock categories, with multiple nominations for veterans Jeff Beck (‘Best Rock Album,’ ‘Best Rock Performance’ with Joss Stone and ‘Best Rock Instrumental’) and Neil Young (‘Best Rock Song,’ ‘Best Rock Album’ and Best Solo Rock Performance’) while Paul McCartney, Robert Plant, Eric Clapton, John Mayer earning one nom each.  Hard rock and metal showcased no new artist nominations either: Ozzy Osborne, Alice In Chains, Stone Temple Pilots, Soundgarden, Iron Maiden, Korn, Megadeth, Lamb of God and Slayer.

For the complete list of nominees across all 100 categories, visit Grammy.com

By Cortney Wills with additional reporting by Paula Gould

Cortney Wills is a pop culture journalist born and raised in Los Angeles, California. She has lived in LA, Chicago and NYC and enjoys all things entertainment.

How do you keep the music playing when you’re between new releases? What to do to fulfill that pesky final commitment of a multi-album recording contract with a label you’re no longer thrilled to call home? Traditionally, a greatest-hits compilation — in stores preferably around the end of the year — has been the best bet. Not only do they make great stocking stuffers, but they are an excellent way for artists to stay in retail circulation while they’re working on new material, or shopping for a new deal.
Past holiday seasons have seen the Billboard 200 album chart crowded with new best-ofs, but this year, the pickings are slim indeed.

Only Bon Jovi’s Greatest Hits and Pink’s Greatest Hits… So Far were in the Top 50 for the week ending December 4, with the latter missing the Top 10 entirely, a fate likely to befall Jay-Z: The Hits Collection, Volume One (out November 22). Why has the gift that used to keep giving — around Christmas and beyond — suddenly stopped? Here are a few possible reasons.

The rise and continued rise of iTunes. Back in the days when people bought music exclusively in record stores, superstar acts like Madonna and the Eagles were scoring the biggest albums of their careers with hits compilations. Now, for up to $1.29 a pop, fans can pick and choose which of their favorite artists’ hits they want without ever buying a complete album. So when the hits compilation is released, why not just download the one or two new tracks and call it a day? That might explain why Pink’s Greatest Hits has had such a lackluster chart showing — so far — while its single, “Raise Your Glass,” is No. 1 on the Billboard Hot 100 and already one of the singer’s, well, greatest hits.

Repackaging of hit albums. More artists are keeping themselves in heavy rotation by putting out special-edition versions of their hit albums featuring multiple new tracks. It’s a holiday-season gambit that recently has paid handsome financial and chart dividends for Taylor Swift, Lady Gaga, Beyoncé and Rihanna, among others. On November 26th, Justin Bieber released My Worlds Acoustic, featuring reworked, stripped-down versions of songs from his My World EP and My World 2.0, his full-length debut, while Adam Lambert is dropping the five-song Acoustic Live on December 6th. These are like greatest-hits albums featuring only the hits from one album. By time the actual best-ofs come around, do fans really need a third version of the same old songs (fourth, if you count the in-decline-but-still-ticking Now That’s What I Call Music! series, currently on Volume 36).

The new definition of “single.” It’s harder to keep track of actual hit “singles,” with the term being used so loosely these days. Take Taylor Swift’s Speak Now, for example. All fourteen tracks on the original release have charted on Billboard’s Hot 100, and three already have entered the Top 10, but many might be hard pressed to name the “official” single. “Mine” has logged the most time on the chart, but due to the Hot 100 onslaught of other Speak Now tracks leading up to the album’s release, “Mine” hasn’t had the impact of past Swift hits like “Love Story” and “You Belong with Me.”

Rappers like Drake, Kanye West and Nicki Minaj as well as Usher have followed a similar staggered singles release scheme, diluting the impact of each one, while making each album a sort of self-contained greatest-hits collection. Usher, for example, landed seven chart hits in the last year, five from Raymond v. Raymond, and two from the recently released Versus EP, but only one song from each set went Top 10 on the Hot 100, compared to the five-for-five Top 10 tally of the singles from his Confessions album in 2004.

Another album, another half dozen cameos. With everyone popping up on everyone else’s album, many of music’s big stars, it seems, are never  MIA for long, making greatest hits albums less necessary as space holders between studio releases. Pitbull was just in the Top 10 on simultaneous hits by Enrique Iglesias and Usher. In 2010, newcomer Bruno Mars has mined platinum singles on his own and with B.o.B and Travie McCoy. Rihanna is on Eminem’s Recovery and Nicki Minaj’s Pink Friday, and they are both on Rihanna’s Loud. Eminem is on Pink Friday, too, as is Kanye West, for whom Minaj returns the favor on My Beautiful Dark Twisted Fantasy.
Got that?

Meanwhile, Drake is on pretty much every other R&B release these days, including Loud, My Beautiful Dark Twisted Fantasy and Pink Friday, which, incidentally, also features Natasha Bedingfield, whose Strip Me (out December 7th), amazingly, features none of the above. How’s that for a Christmas miracle?

By Jeremy Helligar

Jeremy Helligar is a former staff writer for People, Teen People, Us Weekly and Entertainment Weekly, who now writes about celebrities and pop culture from his couch in Buenos Aires.

After years of reneged release dates and rap-world rumors of its completion, it seems Dr. Dre is finally ready to release his ten-year-in-the-making album, Detox…maybe.

The first official single, “Kush,” released on Nov 18th,  features Snoop Dogg and Akon, and debuted at Number 48 on the Billboard Hot 100 chart after a partial sales week, making it Dre’s first appearance there since “The Next Episode” in 2000.

As the title suggests, the track is an ode to a particularly popular strain of marijuana, and features the classic, west coast sound he helped cultivate over twenty years ago.

The prolific west coast rapper, turned producer, turned executive, turned actor who burst onto the scene in 1988 with N.W.A. and birthed the gangsta rap era with Straight Outta Compton hasn’t stopped since.  His debut solo album, The Chronic was released on Death Row Records in 1992 and introduced the world to G-Funk style rap. He produced Snoop Dogg’s debut album, Doggystyle, in 1993; the first-ever rap album to debut at Number 1 on the Billboard Top 200 chart.

The Aftermath president, (who also launched the careers of Eminem and 50 Cent) began work on Detox in 2004, but stopped to focus on production for other artists, and was re-scheduled for release in 2005.  When that date was canceled, three years passed before Snoop told Rolling Stone magazine the album was done in 2008, sparking industry-wide confusion of the seemingly phantom record. Another year passed before Interscope Records announced they would release the album in 2010,  with an unauthorized version of “Under Pressure,” the rumored first single hitting the internet in June.  Now, that the real single has officially dropped,  Detox is slated for an early 2011 release date.  It’s likely that this release will actually materialize an album, but Dre says it will definitely be his last. If “Kush” is any indication of what fans can expect, it may well have been worth the wait.

By Cortney Wills

Cortney Wills is a pop culture journalist born and raised in Los Angeles, California. She has lived in LA, Chicago and NYC and enjoys all things entertainment.

Some people just aren’t born to be team players. That’s not to say they’re incapable of getting along well with others, it just means—at least in any artistic realm—that their ideas and the emotions behind them are too bold to allow for any compromise. It may be a lonely journey, but the small percentage of artists who push forward with such vision end up being the names we all remember on down the road. With a stage name that contains “TheWeirdO,” Ibn (pronounced “ibbon”) makes it clear that mainstream and/or social compatibility is not what he’s aiming for. Such a moniker does however, before any of his material is ever heard, allude to the notion that perhaps his music is just “weird” enough to stand out in a good way. In that regard, he does not disappoint.

This week’s HHH featured artist comes from the same midwestern metropolis, more specifically from the city’s storied south side, as two of hip hop’s brightest luminaries—Kanye West and Lupe Fiasco. So, it should also come as no surprise that Ibn, a product of the same environment and someone who openly admires both aforementioned artists, would be of a similar breed.

His skeletal biography mentions a past rap group effort that fell through, the leftover bitterness of which can be heard in introductory talking points like “I stay to myself,” and verse lines like “I never slow down but I cruise so lonely/ Hopin’ that these photoshop dudes don’t clone me” in beginning of “Free My Mind.” As its title suggests, the song—with its forlorn, warning siren guitar lick and temporary resolutions—sounds as if it’s running from something; a desolate highway anthem built for outlaws trying to escape their own anxieties. For TheWeirdO, the crossroads arrives as the song turns down the final stretch and he rhymes “I wonder where I’m goin’ cause this life is such a maze” and “I’m kinda stuck lookin’ both ways/ Cars comin’, lights go four ways/ No stop signs, only road rage.” For all his declared independence, Ibn ends “Free My Mind” still fiercely solo but tangled up in more self reflection than can be healthy for anyone.

The remedy isn’t far behind. Like many deliberate outsiders, Ibn finds exception and therefore solace to his proud autonomy in love. And through love, he realizes that he might not be so different from the pack after all. “Circles,” a breezy tune studded with a beat more at home in ‘

80s snare reverb land, not only highlights the welcome versatility and polarizing nature of Ibn’s content, but also proves our young emcee has a soft spot as well. Beginning as a narrative of failed romance, Ibn comes around to step down off his towering pedestal, admitting “I guess I’m parallel to the same dudes hurtin’ you.” Yet as mature as this realization and the succeeding acknowledgement are, what’s even more impressive is the fact that Ibn’s realized the ever-evolving nature of the human personality, cleverly wrought in the song’s theme “Circles what we go around/ Never go up…or down.”

Maybe he’s finally got it all figured out, or maybe he’s just as confused if not more than before. Whatever the verdict is, you’ll be able to decide for yourself with the upcoming release of his anticipated Mixtape, Me Soon. Check for more on that in the future, and let us know if you can relate to Ibn in the comments!

As a classically trained vocalist, and self-taught pianist, Orlando Dixon brings flair and style to the stage. He works hard to mirror the greats such as Donny Hathaway, Sam Cooke and John Lennon. But his own style comes out strong as he begins to establish himself in the industry.  Dixon is currently promoting his Mixtape series In My Element—an original collection of music.

After winning the grand prize of Disc Makers’ Design Studio Cover Search Contest, he went on to become a finalist in VH1’s Songwriting Contest. In addition to these notable accomplishments, Dixon has shared the stage with renowned artists such as Lalah Hathaway, Paula Cole and Philip Bailey of Earth Wind and Fire.

“Don’t Give Up On Us” is one of our favorite Orlando Dixon Tracks. It’s super catchy and fun to listen to. We posted the track below to stream so that you can tell us what you think! After listening to that, check out his cover of Robin Thicke’s “Lost Without You”.

Considering the self-indulgent nature of the traditional pop star, it’s refreshing to come across a musician who’s honest about the good and the bad that makes him who he is. Enter Slant Da Kid. Originally from Virginia but now residing in Ohio, this young kid (see pictures below and you’ll see what I mean) hasn’t let a relocation rumple his feathers. In fact, Slant Da Kid continues to rhyme in the same down to earth manner he’s used since his “grasshopper” days. If he keeps it up, he might just reach sensei status.

The first thing that strikes you when hearing one of Slant’s pieces is the beat. He may have perfected the practice of honesty in rapping about who he is right now, but the beats make it clear he wants riches fit for royalty. In “This is Me,” a sweeping high range piano lick ushers listeners in on top of smooth cymbal swipes and padded snare taps, ultimately formulating a classy ballroom sound. Slant’s velvet vocals get right to the point in the chorus line and central message: “Hey, I don’t care what they say/ I’m just me at the end of the day/ with my flaws and all/ the mirror ain’t lyin’ y’all/ so this is me.” The first lines in the first verse allude to getting rich after a life of misery. Soon after this dream is  revealed, Slant explains how he doesn’t want to be stuck in stagnancy like so many others and how he plans to land a “bad bitch and ice on my damn wrist” simply by playing the cards he was dealt.  The kid’s a realist, and the fact that such a trait is audible in his music speaks volumes as to his potential.

There were a few nods to weed in the “This is Me,” but not nearly enough to warrant any writing on the topic. “Gotta Do It” featuring DMillz is different. Between the blatant innuendos, it’s nearly an anthem to the sticky icky. At least on the surface. In what appears to be a subtle declaration of his appreciation for L rides (“back on the move again/ inhale the Buddah in”) during the opening lines, this youthful Ohioan simultaneously motivates all others hacking away at the grindstone. He channels 50 Cent’s Get Rich or Die Tryin’ philosophy, a notion that further unveils itself as the song progresses: “back to the song cause the beat’s still cryin’/ back to the streets man dawg still grindin’/ back on the clock man they are still timin’/ can’t stop now boy cause I am still shinin’.” This verbal perseverance fuels another  elegant piano-driven beat floating atop, again creating a satisfying gap between the rapper’s current state and where he wants to be.

Listeners can’t help but be lured by the catchy beats, fierce ambition and honesty Slant brings to the table, which is why he’s already got a Top 10 award to his name. He’s uploaded 9 songs to his profile thus far. Check them all out and let us know if you think he’ll realize his goals in the comments!