Kid Harpoon has been named Abbey Road Studios’ first-ever Producer in Residence, with the Grammy winner tasked with both guiding the legendary studio’s vision as well as mentoring future musical talent.

According to the studio, Kid Harpoon “will have complete access to Abbey Road as his creative playground and studio home in the UK, as well as its collection of vintage gear, microphones and instruments” and “will also consult on the studios’ music tech and innovation work.”

“I’m beyond excited to become Producer in Residence at Abbey Road,” Kid Harpoon said in a statement. “In this position, I’m hoping to use my experience to help guide some of the incredible up-and-coming talent we have in the UK while they navigate their way through what can be a difficult industry. Mark and the team have a real desire to give back and develop new talent, which is something I’m really passionate about. To be able to contribute to the Abbey Road legacy in any way is an honor, and I can’t wait to get stuck in!”

The British-born Thomas “Kid Harpoon” Hull has won Grammys for both Record of the Year (for Miley Cyrus’ “Flowers”) and Album of the Year (for Harry Styles’ Harry’s House) in recent years. His production and songwriting work also includes Shawn Mendes’ Wonder, Maggie Rogers’ Surrender, as well as songs by Florence + the Machine, Lizzo, King Princess, Noah Cyrus, and Jessie Ware. Most recently, Kid Harpoon produced David Byrne’s new album Who Is the Sky?

In addition to shaping Abbey Road’s sound, Kid Harpoon will also take part in the nearly century-old studio’s free education programs aimed at nurturing the next generation of artists and producers via panels and workshops.

“[Kid Harpoon] brings a spirit of collaboration and innovation that perfectly aligns with our vision. With his creative lead, we’re excited to deepen our artistic community and continue placing creativity at the heart of our home,” Abbey Road’s managing director Sally Davies added in a statement.

There is no question that Clipse’s Let God Sort Em Out made a serious impact and continues to hold weight. The project showed that hip hop is not limited by age and proved that a long-awaited return can still land in a major way regardless of the time away.

If you need a reminder, the Virginia duo’s fourth studio album debuted comfortably within the top five of the Hot 200. It secured the number four position and moved an impressive 118,000 units in its first week.

On top of that, it picked up a win at this year’s Grammys, earning Best Rap Performance for “Chains & Whips.” The album also received four additional nominations, including Best Music Video, Rap Album, and Album of the Year.

It is hard to believe the project will officially hit its one year mark this summer on July 11. Even so, Pusha T is making it clear that both supporters and critics should not be overlooking it anytime soon.

While performing at Coachella yesterday, King Push told the crowd that LGSEO still sits at the top, regardless of genre.

He said, “‘Let God Sort Em Out’ is still the album of the motherfckin year. Whole new year, still album of the year,” per Kurrco. “Album of the motherfcking year until we drop again. We don't care who dropping. It don't matter.”

That is a strong statement for obvious reasons, especially considering the recent claims surrounding Push himself.

Over the same weekend, hip hop social media lit up after several alleged reference tracks connected to Quentin Miller and Push began circulating. Three tracks surfaced in total, but one that drew the most attention was an alleged record titled “Real Gon’ Come.” It is said to come from the DAYTONA era, around 2017 to 2018.

The situation gained traction because fans remember the past tension between Drake and Pusha T before Drake’s clash with Kendrick Lamar. During that feud, Pusha accused Drake of using ghostwriters on tracks like “Infrared,” which appears on DAYTONA. On that song, he raps, “The bigger question is how the Russians did it /
It was written like Nas, but it came from Quentin.”

Reactions have been mixed. Some people argue it is not a major issue since Miller’s alleged contributions were limited to hooks. Others point out that the songs were never officially released, so they see no real problem. Meanwhile, critics view it as clear hypocrisy on Pusha T’s part, a perspective that DJ Akademiks has also supported.

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