Uploaded July 2019 | Updated September 2026, 1 day ago
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"Six Degrees (feat. Danny Brown) " by BADBADNOTGOOD & Ghostface Killah
Curated by: Brendan Boland
Spotify: bit.ly/SixDegreesBADBADGhostface
Genre: #rap
Just as the heavy bass lines of Low End Theory framed the more introverted and reflective notes of Q-tip and Phife, so too do the minimalist workings of jazz instrumentalists BadBadNotGood set the stage for Wu-Tang member Ghostface Killah wax poetics on “Six Degrees”.
Whether this is six degrees of separation from what inspired his lyrical liquidation or more of a sullied soliloquy, speaking to the smooth and steady fix he references within the song, the result is pure. BADBADNOTGOOD's hip hop heavy beat weaves in jazz accents that accentuate yet never compete with the Ghostface’s breathy world view. All the while, Ghostface reminds us that he still lives the grind.
Enter Danny Brown. I have to imagine whatever doorway Danny Brown chooses to enter the beat scratches, the room pauses, and all bask in the glory that is him. So too here, where the track shifts from a swinging groove into crisp articulations of singular notes, each perfectly punctuating another bar of fire. His volcanic voice spills across the second verse and then, just as flamboyantly, exists, echoing his warning, “But if you know how I know, you better get Ghost before I get….”
“Six Degrees” is a standout track on a rich and diverse album, Sour Sour. BADBADNOTGOOD channels the chronology and sound of this iconic hip hop family on top of which Ghostface performs tight wound narratives.
Rock With This (http://rockwiththis.com) helps you discover your new favorite songs. We deliver the best of what's breaking and uncover the left behind tracks that need to be heard. Subscribe for more music, it's free. ;)
Follow us on:
Instagram: instagram.com/rockwiththismusic
Spotify: bit.ly/SPRockWithThis
SoundCloud: bit.ly/SCRockWithThis
Facebook: facebook.com/rockwiththis
-----------------------------
"Six Degrees (feat. Danny Brown) " by BADBADNOTGOOD & Ghostface Killah
Curated by: Brendan Boland
Spotify: bit.ly/SixDegreesBADBADGhostface
Genre: #rap
Just as the heavy bass lines of Low End Theory framed the more introverted and reflective notes of Q-tip and Phife, so too do the minimalist workings of jazz instrumentalists BadBadNotGood set the stage for Wu-Tang member Ghostface Killah wax poetics on “Six Degrees”.
Whether this is six degrees of separation from what inspired his lyrical liquidation or more of a sullied soliloquy, speaking to the smooth and steady fix he references within the song, the result is pure. BADBADNOTGOOD's hip hop heavy beat weaves in jazz accents that accentuate yet never compete with the Ghostface’s breathy world view. All the while, Ghostface reminds us that he still lives the grind.
Enter Danny Brown. I have to imagine whatever doorway Danny Brown chooses to enter the beat scratches, the room pauses, and all bask in the glory that is him. So too here, where the track shifts from a swinging groove into crisp articulations of singular notes, each perfectly punctuating another bar of fire. His volcanic voice spills across the second verse and then, just as flamboyantly, exists, echoing his warning, “But if you know how I know, you better get Ghost before I get….”
“Six Degrees” is a standout track on a rich and diverse album, Sour Sour. BADBADNOTGOOD channels the chronology and sound of this iconic hip hop family on top of which Ghostface performs tight wound narratives.







![Bibio - Old Graffiti
Rock With This (http://rockwiththis.com) helps you discover your new favorite songs. We deliver the best of whats breaking and uncover the left behind tracks that need to be heard. Subscribe for more music, its free. ;)
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Old Graffiti by Bibio
Curated by: Mike Floeck
Spotify: http://bit.ly/OldGraffitiBibio
Genre: #indierock
Stephen Wilkinson has figured out a thing or two about timing and tempo: Ribbons is Wilkinson’s tenth album as Bibio, and although his tenure resulted in a bit of diversion and experimentation, his predominant lane resembles folk music and experimental electronica without breaking a sweat about the comparison. Ribbons sits right in this lane: “Old Graffiti” settles down like a fresh spring rain shower of medium density, pattering against the windowsill, drops randomly striking at different angles and intensities. Wilkinson’s voice apparates from seemingly nowhere, echoing short syllables that he coos and barks through the song.
Bibio has credited phonemes as influences for his uniquely bizarre lyrical phrasing and articulation. Phonemes, per Merriam-Webster, are “[members] of the set of the smallest units of speech” that separate and identify one syllable from another. An example is when two words end in different consonants yet sound phonetically similar, e.g. “tad” and “tab”. The phonemes would be the “d” and “b” sounds, distinguishing the two words but just barely. You feel the tension of the “p” hanging on Wilkinson’s lips as he sings “makeup” and the word echoes rapidly behind; you sense the restraint as he transitions from the hard “e” sounds in “graffiti” into a yodel, howling over the plains of his percussion-driven arrangement.
Speaking of percussion, Bibio says “Old Graffiti” began with it whereas most of his compositions begin on guitar. He was “inspired by listening to old Batucada and Capoeira recordings,” both influenced by African percussion and native to Brazil. This broad-reaching influence lends an exotic air to “Old Graffiti”, a lost gem in a modern world. Bibio - Old Graffiti](https://i.ytimg.com/vi/L2ZZWXpR8QY/mqdefault.jpg)


