When Westside Gunn refers to himself as "the king of the underground," it's not hyperbole. The veteran rapper has spent the last decade-plus providing hip-hop with a streetwise, neo-boom-bap style that echoes heavily in the music of today. And as the founder of independent hip-hop label Griselda (and its related rap collective), Gunn's influence is felt through stars like his brother, Conway the Machine, his cousin, Benny the Butcher, and the enigmatic Mach-Hommy. 

But Gunn considers himself more a curator than a musician. He is obsessed with fashion and high art, more prone to mention going to see opera or buying a painting than jumping into a rhyme cipher.

All of Westside Gunn's obsessions come together on his new album And Then You Pray For Me. The rapper is positioning the project as a sequel to his 2020 LP Pray For Paris, which was inspired by Gunn attending a Paris Fashion Week runway show as a guest of the late Virgil Abloh. Abloh was the art director for both albums, which feature figures from iconic artworks laden with Gunn's signature chains; And Then You Pray For Me uses both the Mona Lisa and Caravaggio's The Entombment of Christ. 

While the 21-track album features plenty of Gunn's trademark neo-boom-bap sounds, he updates things a bit by including some songs that have a trap music influence. It contains stellar guest turns from old friends like Conway, Benny, Stove God Cooks, Rome Streetz, and Boldy James. But there are also surprising appearances from artists you might not normally associate with Griselda — Jeezy, Rick Ross, Denzel Curry, and Ty Dolla $ign.

Gunn has recently referred to And Then You Pray For Me as his last album, but don't expect him to slow down. He's making movies, planning big moves in the fashion world, and continuing to guide the careers of other artists. 

GRAMMY.com caught up with Gunn as he was, naturally, shopping in New York City's SoHo neighborhood ("I'm over here on Mercer [Street], so it's Lanvin, Balenciaga, Marni, Bape — it's all right here," he boasts). We discussed his creative pairing with Abloh, why he's really a curator at heart, and his views on underground rap's evolution over the past decade. 

The conversation has been edited for length and clarity.

Not to start on a super serious note, but as I was preparing for this conversation, I realized that we just passed the 17-year anniversary of the murder of your cousin, rapper Machine Gun Blak. If he could see you now, and if he could hear the new album, what do you think he might say?

First of all, he'd be all on [the album]. But he'd be super proud, man. Even when he's not here, he's one of my biggest fans, I feel like. His energy is Westside Gunn. Westside Gunn is a perfect example of Machine Gun Blak — just the raw, the grittiness. The grimy part of Westside Gunn, that's Machine Gun Blak. That's his spirit.

But I think he would love this album. It's a great piece of work. It's my favorite that I ever worked on. Out of all my projects ever, this is the most fun I ever had making one. 

Does it feel like it's been 17 years since he died?

Nah. It doesn't seem like 17 years, honestly. And it's crazy because I just went to his grave site. I remember [the day he died] like it was yesterday. I vividly remember that day — what was going on, what I was doing, where I was going, everything.

Where were you when you found out? 

See, back in those days, that's when we were still in the streets. So I was just about to go make a move. I was talking to him on the phone, and I was like, "I'll hit you when I get over to Atlanta." Because at that time, I was making moves. That's before all of this. It's the things I rap about now. When you hear the lyrics, these are those days. 

He called me, and it was a situation. He was talking about it, and I was like, "Sorry to cut you off, but I gotta go handle this. When I get there, I'll hit you back so we can finish talking about it."

At that time I was still catching the Greyhound from Alabama to Atlanta. But it was crazy because I missed the bus, and I never miss the bus. So I was on my way back to the house in Alabama, and my grandma called me.  

This era of your career, which this album is a cap to, began in 2012 when you realized you had to step up and be an artist because Conway The Machine had gotten shot and you weren't sure he'd be able to rap anymore. I've always been curious about your state of mind at that moment.

Even then I was still in-the-streets Gunn. We was working so hard, man. I was acting as his manager and investing my bread, my time. I really wanted Conway to be the biggest artist in the world. Unfortunately, when he got shot, it was a devastating blow.

Of course, that's my brother. That's the number one thing. And it was also like, the streets is crazy. I thought, I'm a smart guy. If I just put in my effort, I could really make this happen. At that time, I was really in the streets, and I felt like the [other] rappers weren't. It was like, you're really rapping about us. 

It was that kind of mentality — that if I come in this game, can't nobody touch me, because I'm as real as it comes. I just put my hustle skills from the streets into this, and it all worked out. 

During the heyday of that era of Griselda, you guys released a flood of projects — dozens and dozens of mixtapes and albums. 

It was a flood. It was the craziest flood since No Limit [Records].

What was a typical day like for you when all that was going on, circa the mid-2010s?

Just being at [producer] Daringer's house. Getting high, eating f—in' Franco's pizza, drinking Loganberry, and Daringer cooking the craziest beats you ever heard in your life. The rest is history. Just having fun, man. Everybody had they hustles. Believe it or not, even Daringer was hustling! We from Buffalo, man.

You've always been someone who understood the importance of branding. Even on early Griselda projects, you'd promote GxFR [Griselda by Fashion Rebels, Gunn's clothing line at the time]. 

Yeah, because that's the thing: Griselda Records comes from Griselda by Fashion Rebels. I had the clothing brand first. I was already doing a clothing line and it was just like, What am I going to name this record company?

I've always been into fashion. I actually do more fashion-related things than hip-hop-related things. I'm a true designer. I've been designing since I was a kid, and that's the thing that I want to get into more. 

I've been rhyming since '12. That's over a decade. If we're looking at NBA years, NFL years, I'm already a super-vet. I'm not trying to be one of them dudes that went from averaging 40 a game to now I'm averaging five, looking crazy and old. 

I know when to gracefully bow out. And I know I'm coming to the end. I don't want to keep rapping forever about the same things, because in my life I'm maturing. I'm doing other things. I'm collecting art. I'm going to see operas. 

But it's not the end right now. Right now, I just want to give people the best music. And I also want to let people in. I've been doing these [YouTube] episodes for this album where I've been letting people into my life for the first time in my career. Everybody has been loving it. 

For the first time, people are actually getting to see the inside of Westside Gunn's life. I think that's one of the things that I lacked on, was letting people in. If I would have let people in a long time ago, I'd be way bigger. But everything is about time, and I'm not tripping.

Before I hang up the mic, I still want to kind of give you a journey with the music. This new project, it's a super different vibe. I've never made an album sound like this. It's the perfect art piece that I could have possibly created.

It's just the space I'm in in life. It comes with maturity — traveling the world, kids getting older, things like that. You can hear the music has matured. It's still raw though. That's the thing about me. I'm still gonna give you that Griselda Westside Gunn. That's never gonna change. I'm not going too far out of context. 

For this album, you've introduced the alter ego "Super Flygod." What does that name mean? 

Listen, man, Super Flygod right now is talking to you with a ponytail. I'm on another level. Super Flygod is what I've always been, but times 10. I'm super bougie. I love five-star meals. I love five-star hotels. I love wearing $10,000 outfits. I love getting massages. I love smelling good. I love just looking good. That's Super Flygod. 

It's just a different energy. It's something the game never seen before. I did the unthinkable at least 100 times already. I'm still doing it. 

What was it like for you to see Conductor Williams — a producer who has worked with Gunn and Griselda for many years — land a single on a Drake album?

Beautiful. That's what we do it for. He did exactly what he was supposed to do, and that's be on the No. 1 album in the world. He deserves all of that. That's what we're in this game for — to be able to leave a legacy and take care of our babies. So for him to be on the No. 1 album, that's a super blessing. 

That's the thing about Conductor — it's just gonna be the beginning. He's on my new album a few times. So he's gonna have a hell of a month. It's the biggest month of his life. Business is booming for Conductor. 

You've used the word "curation" a lot over the course of your career, and especially in regards to this album. What does that word mean to Westside Gunn?

First of all, that's my favorite thing to do on an album. Curation from me is me. I can curate for you, I can curate for MC Hammer. It's you, but it's me. 

When I curate a project, that's me naming every song, that's me picking every beat, that's me doing the sequence, that's me making the art cover, that's me doing the merch. You see what I'm saying? It's you, but it's me. All you're doing is showing up and rapping. That's all you gotta do.

Virgil Abloh is credited with art directing this album's cover. What did that mean, specifically? 

When I went out to Paris [for Paris Fashion Week in 2020], I really wasn't going to make music. I just felt the energy from Virgil having me out there. When I hit him and told him it was done, it was just like, "There's only one person that can do this cover." It had to be him. 

Virgil was an icon. So to have Virgil cooking up for you is already legendary. This don't happen to nobody from Buffalo, man. But when he was cooking, he was making me multiple pieces. At first, the idea was, I'm gonna do a trilogy [of Pray albums]. I was gonna have the Mona Lisa be the picture that represents all three of them together. I was thinking [of a] box set, with a Mona Lisa front and three different covers inside. 

Once he passed, it changed what I wanted to do with it. But we were already talking about dropping [a second Pray album]. We were already going to re-release the first shirts we did, and I was going to do new ones. But when [his death] happened, I put everything on a standstill and I didn't really know how I wanted to approach it again.

It was like, Damn, should I do the trilogy, or should I just make it a part two? I had different options. At the end of the day, it was just like, I think I'm just going to finish it up. I really want to give the people the work we created together before I throw in the towel. I felt it was only right. That's something that I want the world to always see and remember — what me and him cooked up together.

You say in your new YouTube documentary series that this new album will probably go over people's heads. What aspects of it do you think people might not get initially, or take a few years to catch up to?

The same reason why they're catching up now to the s— that I was doing five years ago, and everybody acts like it's new. I've always been ahead of my time. Always. I probably get copied off of the most in the industry. But you see that I've always gotten respect from everybody: from the Drakes, from the Tylers, the Rockys, Kendricks, Coles, anybody. I'm a one-of-one. It's never been seen before. 

The respect I get, it could be on a mainstream level, but then I could still be on an underground level. I can do something with an Estee Nack, but then turn around and do a song with Mary J. Blige. That's who Westside Gunn is. I got songs with everybody you can possibly think of, rhyming-wise or production-wise. All the legends, even our fallen legends. I can't even think of no other emcee that got a record with Sean Price, Prodigy, DMX, and MF DOOM. It's impossible to name another one. 

Westside Gunn is so cultured, people don't even understand. That's what I mean about [being] over people's heads. People still don't even get it. They're scratching their head, like, "How is this guy on [Kanye West's] Donda? How is this guy on [Travis Scott's] Utopia?"

There's a big part of underground rap now that can be traced directly to what Roc Marciano began doing in 2010, and what you guys started doing just a few years later. What do you think when you see a lot of your aesthetic from that time in the current underground scene?

The current underground scene, I'm loving it. Because you gotta think — at that time, like you said, it was only really Roc Marci, Action Bronson — a couple heads. That's in the space that we come from. Of course, we still had the J. Coles and Big Seans and all that, but that was another lane. We're in the same neighborhood, two different streets. 

But on our street, people on the block was Roc Marci and Action Bronson. Danny Brown, he lived on the block. People like that. When I came on the scene, that's all it was. But I took the bull by the horns. Like I said, I'm a hustler. I was still hustling in the street. I had a hustler mentality, and once I told myself I had to quit cold turkey, I never looked back. I just went extra hard. 

With the new heads, I'm proud of them. At the end of the day, I'm happy that I was able to be somebody that they could study. That they could see these vinyl deals or how this merch is played — I'm kind of like the blueprint. I'm not going to say I'm the king of the underground, but I'm the king of the underground.

Even though I'm the king of the underground, I'm still on Donda. I'm still on Utopia. I'm still making all these big songs and these big records. And even yesterday, we put up the Post Malone clip saying if he could work with anybody, it'd be me. 

I'm the one that put the most points on the board, in every way possible. But this is also showing the new heads, If I could work hard, I'm gonna be the next Roc Marci, I'm gonna be the next Action Bronson in that space.

What is the possibility of getting the original Griselda trio of you, your brother and your cousin back together for a project? 

That's coming in '24. You don't even you got to ask twice. That's already done, my brother. 

A Guide To New York Hip-Hop: Unpacking The Sound Of Rap's Birthplace From The Bronx To Staten Island

Since Ice Spice first caught our attention two summers ago, she's been nothing short of a rap sensation. From viral hits like her breakout "Munch (Feelin' U)," to co-signs from Drake and Cardi B, to a Best New Artist nomination at the 2024 GRAMMYs, the Bronx native continues to build on her momentum — and now, she adds a debut album to her feats.

Poised to be one of the hottest drops of the summer, Y2K! expands on Ice Spice's nonchalant flow and showcases her versatility across 10 unabashedly fierce tracks. She dabbles in Jersey club on "Did It First," throws fiery lines on lead single "Think U the S— (Fart)," and follows the album's nostalgic title with an interpolation of an early '00s Sean Paul hit on "Gimmie a Light."

Y2K! also adds more star-studded features to Ice Spice's catalog, with Travis Scott, Gunna and Central Cee featuring on "Oh Shh...," "B— I'm Packin'," and "Did It First," respectively. At the helm is producer RiotUSA, Ice Spice's longtime friend-turned-collaborator who has had a hand in producing most of the rapper's music — proving that she's found her stride.

As you stream Ice Spice's new album, here are five key takeaways from her much-awaited debut, Y2K!.

Ice Spice is one of the few ladies holding down the New York drill scene on a mainstream level. She's particularly rooted in Bronx drill, a hip-hop subgenre known for its hard-hitting 808s, high-hats and synthesizers — and according to the sounds of Y2K!, it’s seemingly always going to be part of her artistry.

"It's always time to evolve and grow as an artist, so I'm not rushing to jump into another sound or rushing to do something different," Ice Spice told Apple Music of her tried-and-true musical style. 

While Y2K! may not be as drill-driven as her debut EP Like…?, the album further hints that Ice isn't ready to retire the sound anytime soon. The subgenre is the dominant force across the album's 10 tracks, and most evident in "Did It First," "Gimmie a Light" and "BB Belt." Even so, she continues her knack for putting her own flair on drill, bringing elements of trap and electronic music into bops like "Oh Shhh…" and "Think U the S— (Fart)."

Minus a few tunes, all of Ice Spice's songs start off with her signature "Stop playing with 'em, Riot" catchphrase — a direct nod to her right-hand man RiotUSA. Ice and Riot met while attending Purchase College in New York, and they've been making music together since 2021's "Bully Freestyle," which served as Ice's debut single. "As I was growing, she was growing, and we just kept it in-house and are growing together," Riot told Finals in a 2022 interview.

Riot produced every track on Like.. ? as well as "Barbie World," her GRAMMY-nominated Barbie soundtrack hit with Nicki Minaj. Their musical chemistry continues to shine on Y2K!, as Riot had a hand in each of the LP's 10 tracks.

In a surprising move, though, Ice doesn't just lean on Riot this time around. Synthetic, who worked on Lil Uzi Vert's GRAMMY-nominated "Just Wanna Rock," brings his Midas touch to "Think U the S—." Elsewhere, "B— I'm Packin'" is co-produced by Riot, Dj Heroin, and indie-pop duo Ojivolta, who earned a GRAMMY nomination in 2022 for their work on Kanye West's Donda. But even with others in the room, Riot's succinct-yet-boisterous beats paired with Ice's soft-spoken delivery once again prove to be the winning formula.

Named after Ice Spice's birthdate (January 1, 2000), her debut album celebrates all things Y2K, along with the music and colorful aesthetics that defined the exciting era. To drive home the album's throwback theme, Ice tapped iconic photographer David LaChapelle for the cover artwork, which features the emcee posing outside a graffiti-ridden subway station entrance. LaChapelle's vibrant, kitschy photoshoots of Mariah Carey, Lil' Kim, Britney Spears, and the Queen of Y2K Paris Hilton became synonymous with the turn of the millennium.

True to form, Y2K!'s penultimate song and second single "Gimmie a Light" borrows from Sean Paul's "Gimme the Light," which was virtually inescapable in 2002. "We really wanted to have a very authentic Y2K sample in there," Ice Spice said in a recent Apple Music Radio interview with Zane Lowe. Not only does the Sean Paul sample bring the nostalgia, but it displays Ice's willingness to adopt new sounds like dancehall on an otherwise drill-heavy LP.

Taking the Y2K vibes up another notch, album closer "TTYL," a reference to the acronym-based internet slang that ruled the AIM and texting culture of the early aughts. The song itself offers fans a peek insideIce's lavish and exhilarating lifestyle: "Five stars when I'm lunchin'/ Bad b—, so he munchin'/ Shoot a movie at Dunkin'/ I'm a brand, it's nothin.'"

Whether she's flaunting her sex appeal in "B— I'm Packin'" or demanding potential suitors to sign NDAs in "Plenty Sun," Ice exudes confidence from start to finish on Y2K!.

On the fiery standout track "Popa," Ice demonstrates she's in a league of her own: "They ain't want me to win, I was chosen/ That b— talkin' s—, she get poked in/ Tell her drop her pin, we ain't bowlin'/ Make them b—hes sick, I got motion." And just a few songs later, she fully declares it with "BB Belt": "Everybody be knowin' my name (Like)/ Just want the money, I don't want the fame (Like)/ And I'm different, they ain't in my lane."

For Ice, "baddie" status goes beyond one's physical attributes; it's a mindset she sells with her sassy delivery and IDGAF attitude.

In album opener "Phat Butt," Ice boasts about rocking Dolce & Gabbana, popping champagne, and being a four-time GRAMMY nominee: "Never lucky, I been blessed/ Queen said I'm the princess/ Been gettin' them big checks in a big house/ Havin' rich sex," she asserts.

Further down the track list, Ice Spice firmly stands in her place as rap's newest queen. In "BB Belt," she raps, "I get money, b—, I am a millionaire/ Walk in the party, everybody gon' stare/ If I ain't the one, why the f— am I here, hm?"

Between trekking across the globe for her first headlining tour and lighting up the Empire State Building orange as part of her Y2K! album rollout, Ice Spice shows no signs of slowing down. And as "BB Belt" alludes, her deal with 10K Projects/Capitol Records (she owns her masters and publishing) is further proof that she's the one calling the shots in her career.

Whatever Ice decides to do next, Y2K! stands as a victory lap; it shows her prowess as drill's latest superstar, but also proves she has the confidence to tackle new sounds. As she rapped in 2023's "Bikini Bottom," "How can I lose if I'm already chose?" Judging by her debut album, Ice Spice is determined to keep living that mantra.

Every album comes with a backstory, but not many come with two. Rakim's new project G.O.D's Network (REB7RTH), out July 26, came together in a few quick months, from signing a deal in February 2024 to completion in June. The process was spurred by one dedicated A&R person frantically combing through his network of rappers to get guest verses over beats produced by the God MC himself.

But to hear that A&R man, Matt "M80" Markoff, tell it, creating the seven-song project didn't take four months. It took four years.

"I've known [Rakim's longtime manager] Matt [Kemp] and Rakim since 2007," Markoff tells me when I get him on the phone in late June. "They're used to getting calls from me a couple of times a year just for, like, show referrals, verse referrals, things of that nature."

Back at the beginning of the pandemic, Markoff had been talking to the folks at Fat Beats, the venerable record store-turned-distributor that's a huge name in independent hip-hop. He mentioned Rakim's name to the company, and Fat Beats responded that they'd love a project from the God MC. The original pitch, Markoff remembers, was "a three or four song EP with some remixes."

Rakim quoted his price, Fat Beats agreed, and the project was underway, with the emcee meeting with producers to look for beats. But Rakim, who hasn't released a solo album since 2009's The Seventh Seal, is not one to be hurried.

"Ra was having [DJ] Premier and Pete Rock and Ninth Wonder and some of these people come to the studio," Markoff says. "Because of scheduling conflicts and stuff and, you know, normal course of life, it just wasn't right. The vibe wasn't there."

That's where Jazzy Jeff came into play. Rakim and the legendary DJ began working together and, per Markoff, it "just meshed." It seemed like, instead of a handful of songs, a full-length record was in the offing.

"As soon as they finish the first song, I walk into Fat Beats and say, ‘Hey, this is what we're doing now,'" the A&R man recalls. "Instead of Rakim with random producers, it's Rakim/Jazzy Jeff. That'll be huge."

Then…nothing.

A few years pass, and the Rakim and Jazzy Jeff project is still unfinished. (Rakim described its status as "We have a couple records already done.") Fat Beats, which was on the auction block (it was eventually sold in March 2024), wants its money back. Rakim obliges, and everyone seems set to forget about the whole thing.

Markoff, however, was not about to give up on working with the man he calls "my favorite emcee of all time."

The revamped album started its life as not an album at all. Instead, the original conception was a model Markoff had used before: licensing beats by people not typically thought of as producers. In this case, he'd be offering aspiring rappers the chance to get beats by arguably the most influential rapper of all time. 

"He's taken people who are not necessarily known as producers and put together beat packages for them," manager Matt Kemp says of Markoff. "And then, one of the things he does is he goes out and he licenses those beats through a company that he has. If you're a European artist that wouldn't necessarily have access to things like that, you can get it."

So that, as of February of this year, was the (revamped) plan: have Rakim do six beats and one verse, and sell non-exclusive licenses, so that any rapper, anywhere in the world, who wants to use them in a song of their own could do so. This, indeed, was a vision that was followed through all the way to the finish line — you can see the end result released July 12, priced between $700-$1,050 depending on what you want to do with the beats and the rhyme, here.

But along the way to creating that package, things got significantly more complicated. As Rakim was making the beats, he found he really liked them. In some cases, he even wanted to rhyme on them himself.

"As the beats started coming together and Rakim was really in the studio and we started putting the rhymes onto them, we realized that it was bigger just than that [original vision]," Matt Kemp said.

The wheels started turning. Rakim, the God MC, as a producer? That would be a project worth sharing with the world, not just a few aspiring artists.

As it turns out, unbeknownst even to many Ra fans, the rapper has been making beats since the beginning. In fact, he produced — and played drums on — one of Eric B and Rakim's classic songs, 1992's "Juice (Know the Ledge)." So producing an entire project didn't seem like such a big stretch after all. 

"I always was attached to making beats," Rakim explains to me. "But I got to the point where I'm confident with my production now. I got the chance to produce the album and jumped at the opportunity." 

Rakim, as has been well documented over the years, comes from a musical family. His older brother Ronnie was a keyboard player of some note with his own claim on rap history, his other brother Stevie is also keyboardist who performed on some Eric B. and Rakim songs, and the rapper's aunt is the late R&B legend Ruth Brown. So when making beats, Ra will often play drums, bass, guitar, or piano. (He cops to enlisting one of his brothers if the keyboard part gets too complicated.)

He describes his production style this way: "You try to add on to the sample, and enhance certain sounds that you hear. Or you might just add a melody that you feel enhances the sample as well." 

In addition to playing instruments on the project, Rakim also plays the turntable.

"I always knew how to DJ, and I like being able to enjoy the project from a different seat," he tells me. "I enjoyed putting the music together, coming up with the scratch patterns."

So with the musical side of the equation firmly in place, what about the vocals? Rakim was inspired to add verses on a few songs, and hooks on a few more.

"It's mostly a project that I was supposed to be producing," he explains. "In the midst of that, there's certain beats that I'm playing and I'm like, ‘I gotta rhyme on this one,' or, ‘I got a rhyme that fits this one perfectly.'"

The question was, what to write about? After a decade and a half without an album, the rapper had a lot to discuss, and needed to find new ways to say it.

For the project's lead single, "BE ILL," he got in plenty of internal rhymes. And the song's tempo allowed him to come up with different rhythms.

"When tracks are at that speed, I'm able to manipulate time and space to come up with different rhythms because I have so much time and space to deal with," he says. "It was one of them songs I loved rhyming to. Just having fun with words and phrases, and at the same time having so much on my mind to say."

"I'm trying to say a lot of things," Ra admits when discussing his writing on the album. "It's hard to just come back and say a verse when you've been gone so long. So I tried to be very specific and cautious with the words that I chose, and try to be entertaining at the same time. So it was a little nerve wracking."

Even with Rakim's vocal contributions (he ends up with either verses or hooks on six of the project's seven tracks), more was needed to complete the songs. That's where Markoff really got going.

"Literally, I didn't waste a single day," he remembers. "I was calling the artists in my network. I reached out to each artist one by one, and let each artist go through the folder [of beats] with me and make their picks."

Among the artists Markoff reached out to were several members of the Wu-Tang Clan. He has a long relationship with the crew, having worked with them on several projects including the well-regarded 2005 album Wu-Tang Meet the Indie Culture.

Markoff recalls the exact moment when he lined up Wu member Masta Killa for his appearance on what became "BE ILL."

"I was at the first ever Wu-Tang Clan residency in Vegas, and I told Masta Killa, ‘Dude, I just got these Rakim beats 10 minutes ago.' I played 10 seconds of the second beat, which was the beat for ‘BE ILL.' And he was like, ‘That's the one.'" 

A different Wu-Tang show was responsible for one of the album's other notable guest appearances, Cash Money stalwart B.G. The two met at the concert, and the Louisiana rapper was in the studio "48 hours later," Markoff recalls.

For a handful of artists he had good long-term relationships with, Markoff let them choose which of Rakim's beats they wanted to rap over. In addition to Masta Killa, he names Chino XL, Hus Kingpin, 38 Spesh, and TriState as being on that short list. After that, he says, it was all his decision. 

The end result is a list of some of the top rappers in his Rolodex: Kool G. Rap, Method Man, Kurupt, Canibus, KXNG Crooked, Skyzoo, Joell Ortiz, and many more — including an outro from Snoop Dogg. But one of the most surprising things on the tracklist is that a number of the guests aren't alive anymore.

Nipsey Hussle, Prodigy, DMX, and Fred the Godson have verses on the record. All of them were people Markoff had worked with in some capacity over the course of his career. He says that all of the verses were "in my stash or under my ownership." So when he was looking for material for the Rakim project, they were a perfect fit.

The Nipsey Hussle contribution in particular stood out so much that the entire song, "Love Is the Message," was designed around it. The project's engineer placed Neighborhood Nip's verse first, and everyone else listened to that when recording.

"We kind of glorified who he is, and came up with the title ‘Love Is the Message' to put everything in perspective," Rakim tells me. "So everybody vibed off of that and everything that we implemented had to have that feel or had to be in that direction." 

One thing Rakim noticed as he was listening to the contributions coming in? Many of them were paying tribute to him. In particular, B.G. says in his verse that he's "on a song with the greatest." 

"To hear things like that from my peers is a beautiful thing," says Rakim, who also admits to tearing up when hearing Snoop Dogg praise him on the outro of one of the album's songs. "Hip-hop is one of the more, I guess, feisty genres. It's hard to get that love from your peers. So it's a real blessing to hear it from people like that, to hear what they think of you and to say that on records. A lot of people might think that of you, but would never say it on a record."

For Markoff, B.G.'s tribute was particularly meaningful because of the rapper's history. He began his career in a duo, and later a quartet, with another rapper sometimes considered the greatest of all time, Lil Wayne.

"For B.G. to have that history, but acknowledge Rakim — I was speechless," Markoff confides. "It was really cool to see. It's like, ‘I'm not just going to say my partner, my friend, my confidant Lil Wayne's the best because we grew up together.'"

Finally, after all the guest verses came in, the project was ready. Seven songs, entirely produced by Rakim, with raps by him and a broad cross-section of artists. The question, then: what exactly is this project? An album? An EP? Rakim's big comeback? A teaser for his eventual full-length return?

To Markoff, none of these labels are important. He's not concerned about fans being disappointed that a project under Rakim's name features only a handful of the rapper's verses.

 "The fan is going to look at it however they want to look at it," he says. "The negative people will stay negative. It wouldn't matter if it was the greatest album of all time. The positive people that are so grateful that I stepped up to the plate to help bring new Rakim music to the world are going to love it."

After all, he continues, "The whole point originally when we started making it was letting his peers shine on Rakim beats. The fact that this project morphed into something that Rakim literally is on 95% of, I couldn't have asked for more of a blessing."

So Matt Markoff, the boy who fell in love with Rakim's music at 12 is now, three decades later, putting out music from his hero.

"Dream fulfilled," he says right before we hang up. "Now I gotta figure out what I'm going to do for the rest of my life." 

Denzel Curry isn’t typically one for repetition. His recent run of critically acclaimed projects have all contrasted in concept and musicality.

The Miami Gardens native has cascaded through boom-bap, synth-soaked trap metal, and cloud rap throughout his catalog. But on his upcoming project, King of the Mischievous South Vol. 2, Curry returns to the muddied, subwoofer-thudding soundscape that he captured on the first installment back in 2012. 

Curry was just 16 when he released King of the Mischievous South Vol. 1 Underground Tape 1996]. "I was a kid, man," Curry tells GRAMMY.com. "I was just trying to emulate my favorite rappers at the time who really represented the South. That was pretty much what I was on at the time – the Soulja Slims, the No Limits, but mostly Three 6 Mafia. And then I just put Miami culture on top of that."

Curry first explored the rough-cut "phonk" of Southern acts like DJ Screw and Pimp C as a teenager. His first mixtape, King Remembered Underground Tape 1991-1995, caught the attention of then-rising rapper and producer SpaceGhostPurrp. He shared Curry’s project on his social media accounts, making him an official member of South Florida’s Raider Klan.

Read more: A Guide To Southern Hip-Hop: Definitive Releases, Artists & Subgenres From The Dirty South

The now-defunct group is well behind Curry, who’s ascended from the infancy of his early SoundCloud days to mainstream success. But the rapid-fire delivery and hazy, rough-cut sounds of early Southern rap are still soaked into his musical fibers.

Reignited by the same musical heroes that led to Vol. 1, Curry is comfortable in old sonic form. Vol. 2's lead singles "Hot One" (feat. A$AP Ferg and TiaCorine) and "Black Flag Freestyle" with That Mexican OT fully capture the sharp-edged sound that stretched from Port Arthur, Texas to the Carolinas.

The rapper wanted to go back to the KOTMS series nearly a decade ago, but other projects and outside ventures derailed his return. "I tried to do this thing multiple times," Curry tells GRAMMY.com. "I remember revisiting a [social media post] from 2015 that was like, ‘KOTMS Vol. 2055 is now going to be called Imperial.’ I’ve been trying to do this for the longest." 

A string of bouncy, syrup-pouring, and playalistic Southern trap songs led him back to familiar grounds. The new 15-song capsule features Juicy J, 2 Chainz, Project Pat, That Mexican OT, Maxo Kream, and others inspired by the same pioneers that fall below the Mason-Dixon line.

GRAMMY.com sat down with Curry before the release of King of the Mischievous South Vol. 2 on July 19. The "Ultimate" rapper revealed his "Big Ultra" persona, his ability to crank out hits from his bedroom, and his recent discoveries being "outside." 

This interview has been lightly edited for clarity and length. 

What inspired you to revisit the 'King of the Mischievous South' series?

I was making two projects at once, and there was a through-line from the second half of the project. The second one I was working on kind of just manifested itself into what it is today, 12 years later. And it’s called King of the Mischievous South Vol. 2 because it has the same sonics as the first one.

You mentioned Three 6 Mafia being a big inspiration for Vol. 1. But what about Vol. 2? 

The first KOTMS was obviously Three 6 Mafia, and then Lord Infamous was really the person I looked up to, God rest his soul. I get my rap style from him — the rapid flows and stuff like that. You can even hear it on "Walkin’" and "Clout Cobain." But since I’m from Miami, I’m talking about stuff that predominantly happens in Miami. And  I’m influenced by Soulja Slim, Master P, DJ Screw, UGK, Trina, Trick Daddy, and Rick Ross.

How did you juggle the two different projects at once?

When I wasn’t working on one project, I was working on the other one. Sometimes I would be working on the same two projects on the same day. I was like, If this one won’t see the light of day until next year, this one has to hold fans over. And the one that was supposed to hold fans over ended up having a crazy through-line.

What were the studio sessions like?

When it came down to the production, I was just making these songs on the fly. A couple came out of Ultraground sessions, but the majority of the songs were made in my bed — just how it was with the first one. "Hot One" was made in my house downstairs, and "Hit The Floor" was made in a random room in an AirBnb. And I think the rest of the songs were made in an actual studio.

I was just flowing, doing my thing, and figuring things out. I was working on one project, and when I wasn’t getting called back to the studio, I was working on another one on the side. The grind didn’t stop.

Was there an element or feature that you really wanted to explore?

I just knew I wanted certain rappers to be featured on [project]. When I was working on "Set It," I originally wanted PlayThatBoiZay. But he didn’t get the record done or whatever the case may be. So, I sent it to Maxo Kream, and he ended up just doing it. And when I made "Wish List," I got Armani White on it.  Me and him came off of doing "Goated," so getting that record done was really simple. He pulled up to the studio and he said, "This is tight," and then jumped on the record.

Some stuff didn’t make the cut because we couldn’t get certain people. But the majority of the stuff that made the cut, we were like, "Yes, we did that." Then having people like Ski Mask the Slump God, 2 Chainz, Project Pat, and Juicy J — all these guys played a role. I’m getting people from the South, whether they’re from Texas, Florida, or the Carolinas. And even people outside of the South,  like A$AP Ferg and Armani White, they’re all influenced by the same artists. 

Learn more: A Guide To Texas Hip-Hop: Definitive Releases, Artists & Events

Your persona on the album, "Big Ultra." Break that down for me.

This is how the name came about — my boy’s nickname is Mr. Don’t Fold. It’s kind of a play on "Mr. Don’t Play," so we came up with "Big Ultra" because I’m doing "ultraground" stuff. It wasn’t on some superpower s—, it’s just me, pretty much. It’s how I wanted to be presented on this tape. It’s just me at the end of the day, it’s no persona.

You’ve been in the rap game for a while. Do you consider yourself a veteran?

I think I’m mostly in a formation period because my best years haven’t even happened yet. I feel like I’m just getting my reps in, preparing myself for my 30s. You know, going through the bulls—, having good times, having bad times.

By the time I get to 30, 35, and 40 — God willing — I could have a fruitful career and not be backtracked by dumb s—. I see myself as someone with a lot to offer because I’m still young.

Do you care about garnering more fame or acclaim? Or is there no need for it? 

All my projects are critically acclaimed. The main thing is staying good at what I do. That comes with a lot of effort, a lot of studying, and a lot of work. I take pride in my job and I have fun making music.

I think the hardest part is putting myself out there and being visible. I’m starting to understand that’s what I had to do. I got asked the same question five times in a row about when my album was dropping. I’ve been saying July 19 for the longest. Like, people really haven’t been paying attention? C’mon, bro.

What do you feel is the next step?

I’m just trying to be more visible where the younger generation is at. Most people know me for "Ultimate," "Clout Cobain," or the [XXL Freshman Class] Cypher if I’m being totally real with you. But in due time, everybody has blessings in certain parts of their career. And I’ve been blessed to have a career this long.

All I have to do is just deliver, be real with myself, and do what I have to do. I got to lean into being outside. I didn’t know who messed with me or who liked my stuff until I started going outside and talking to people. You never know who rocks with you until you're outside.  

As far as the music and experience, where does the album rank for you?

I didn’t think about where I’d rank this. We had a whole decade of producing great records, and people look forward to the album experience more than the single when it comes to me. This is what it is, and I just want people to enjoy it. It’s not something to put too much effort or thought into. It’s something you can bump into the club, or you could go to a show and turn up to it. That’s where I’m at with it. 

Are there any other sounds or genres you want to explore?

It’s going to happen when it’s supposed to happen naturally. But I do want to explore pop and R&B a year from now. I want people to be able to sing my songs and stuff like that.

GRAMMY winners Kendrick Lamar and Mustard have long repped their California roots. Earlier this summer, their powerhouse anthem "Not Like Us"  brought West Coast rap back to its roots and shone a global spotlight on the scene. 

Lamar and Mustard are at the forefront of a renaissance in West Coast rap. Their shared roots in Southern California cities — Mustard from Los Angeles and Kendrick from Compton — adds authenticity and resonance to their partnership. Their undeniable chemistry was on display in the video for "Not Like Us," which received a million views less than an hour after its release.

Mustard's signature beats and Lamar's profound lyricism has resurfaced the sound and culture that makes West Coast rap so unique and paved the way for a new generation of artists. All signs suggest that another impactful collaboration may appear on Mustard's upcoming album, Faith of A Mustard Seed.

Learn more: A Guide To Southern California Hip-Hop: Definitive Releases, Artists & Subgenres From L.A. & Beyond

Kendrick Lamar headlined the electrifying Pop Out concert on Juneteenth, which also featured sets from Mustard and DJ Hed. The event saw a handful of L.A. rappers, opening for Lamar in a showcase of  the vibrant talent that defines the region's rap scene.

The West Coast is a vast reservoir of talent, stretching from the Bay Area to Seattle. At the heart of this creative expanse is Los Angeles, which brings fresh perspectives, innovative styles, and renewed energy to hip-hop, ensuring the genre thrives. With the stage set for these newcomers to shine, it's the perfect time to take a closer look at some of the rising talents poised to impact the rap scene. While this list only scratches the surface, it offers a glimpse into the diverse and exciting talent from SoCal, the epicenter of the West.

Arising from Los Angeles, Blxst initially played the background as a producer but soon demonstrated his ability to excel across all facets of music creation. Blxst's breakout moment came with his platinum-certified single "Chosen," which solidified his place in the music industry. His collaboration on Kendrick Lamar's "Die Hard" from Mr. Morale And The Big Steppers further showcased his skill for crafting hooks that elevate tracks, resulting in two GRAMMY nominations.

As he prepares to release his debut album, I'll Always Come Find You on July 19, Blxst stands at a pivotal point in his career. With a great resume already to his name, his forthcoming album promises to showcase his undeniable talent and leave a lasting impact on the West Coast music scene.

Bino Rideaux is a South Central native and frequent collaborator with the GRAMMY-winning rapper Nipsey Hussle. He is the only artist to have a joint project with Hussle, No Pressure, released before the prolific rapper's untimely death. Rideaux has hinted at having a treasure of unreleased music with Hussle, saved for the perfect moment and album.

Rideaux  is known for creating tracks that get the city outside and dancing. He has made three beloved projects with Blxst, titled Sixtape, Sixtape 2, and Sixtape 3 resulting in sold-out shows and a special place in West Coast Rap fans' hearts. Endorsed by industry heavyweights like Young Thug, Rideaux continues to carve his path at his own pace. His journey is nothing short of a marathon, echoing the enduring legacy of his mentor.

Read more: Nipsey Hussle's Entrepreneurial Legacy: How The Rapper Supported His Community & Inspired Rap's Next Generation

Kalan.FrFr, whose name stands for "For Real For Real," is an artist whose music is as genuine as his name suggests. Growing up in Compton and Carson, Kalan.FrFr has always stayed true to his roots, and exudes the unyielding confidence essential to making it in the City of Angels.

His breakthrough mixtape, TwoFr, showcased his ability to shine without major features, delivering verses with catchy hooks and melodic rap. He's shown he's not confined to one sound, delivering vulnerable tracks like "Going Through Things'' and "Never Lose You." His EP Make the West Great Again, Kalan.FrFr both proves his loyalty to his origins and highlights his versatility. Kalan.FrFr's signature punch-in, no-writing-lyrics-down style keeps his fans on their toes, ensuring that whatever comes next is unpredictable but authentic.

Jayson Cash, a rapper hailing from Carson — the same city as TDE artist Ab-Soul — stays true to West Coast rap, from his lyrics to his beat selection. Listening to Jayson Cash's music is like diving into a vivid life narrative. His prowess as a lyricist and storyteller shines through in every verse. He gives his fans an insight into his journey, making it a relatable music experience.

Cash made waves with his debut mixtape, Read The Room, and scored a Mustard beat on the song "Top Down." Two years later, their collaboration continues, with Cash writing on Mustard's upcoming album. Though often seen as an underdog, Cash is not to be underestimated, earning cosigns from West Coast legends like Suga Free and Snoop Dogg. His latest project, Alright Bet, includes a notable feature from Dom Kennedy.

310babii has achieved platinum-selling status at just 18 years old, while successfully graduating high school.  Yet 310babii's career began in seventh grade, when he recording songs on his phone showing early signs of motivation and creativity. His 2023 breakout hit "Soak City (Do It)" quickly gained traction on TikTok — and caught the ears of Travis Scott and NFL player CJ Stroud.

As the song grew in popularity, it led to a remix produced by Mustard, who invited the Inglewood native to join him onstage during his set at The Pop Out. 310babii's innovative spirit shines through in his distinctive visuals, exemplified by the captivating video for his song "Back It Up." His recent debut album, Nights and Weekends, released in February, underscores his evolving talent and promise within the music industry.