Mikey Dollaz – “Go Get Em” (Prod. by Glacci) [Audio]

mikey dollaz

Mikey Dollaz

By Jack Barnes

Combining his assaultive drill bars with innovative electronic production, Mikey Dollaz is one of the most unique rappers in Chicago’s music scene. Today, Mikey Dollaz joins forces with buzzing Nottingham, UK producer Glacci for Go Get Em,premiered by The FADER, who called it a “dystopic trap anthem” with a “barely contained chaos of yelps and careening brags, distorted every so slightly for that nicely demonic touch.” Displaying a visceral, intense energy, Mikey Dollaz bars are an unlikely, but effective complement to Glacci’s signature J Dilla-inspired maximalist, dream-like production: “I sign me a deal for a couple of Ks/ I mess up the money you minimum wage.” Enjoy this audio stream below after the jump.
“Go Get Em” is the latest in a long line of Mikey Dollaz’ collaborations with experimental electronic producers, including multiple collaborations with rising producer SALVA, who connected with Mikey Dollaz for the beat-shifting Waddup/Who Betta” and the Art of Noise-sampling, King Louie-featuring Forever Be Dat Guy.”

In June, Mikey Dollaz released his Good Music Gone Bad mixtape, flexing an aggressive and percussive, yet nimble flow over production by Chicago producer Saint the Good Boy. On Good Music Gone Bad, Saint and Mikey Dollaz make hard-hitting, menacing street music for the block and the club. Prior to the release of Good Music Gone Bad, Mikey Dollaz shared a video for the sinister Street Symphony featuring GuGu, I.L. Will and JB Bin Laden, as well as a visual for the shimmering synth slow-burner Any Given Sunday, a short clip directed by DaDaCreative which artfully details a day in the life on the West Side of Chicago for Mikey Dollaz. The Chicago heavy hitter dropped his Commasvisual last month, which MTV called “the waviest shit I’ve heard all year” while naming his Picture Me Rollin project one of 2016’s most underappreciated albums so far. A versatile lyricist, Mikey Dollaz has worked with an impressive range of genre-bending producers including SALVA, Zora Jones, Sonny Digital, and Obey City to create trap ballads and electronic-influenced bangers alike. “My sound really isn’t inspired by any place or person,” Mikey Dollaz explains. “But drugs play a big role in how my music sounds. You can tell how high I am off the energy of my music. When I first started rapping I always recorded on drugs, so that’s what I was kind of used to and stuck on.”

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Props to Glacci

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