The Los Angeles native combines his expertise of playing classical music with hip-hop on “CELLO FREESTYLE!”
We live in a musical era where recycling sounds and lyrics is the norm, and innovation is rare; an era where streaming numbers, likes, and Instagram followers aren’t just a facet of the music industry, but the primary driving force behind it. It’s never been more apparent that “making it” as an artist is less about talent, and more about internet popularity. However, a small contingent of musicians are making an impact in the underground by going against the grain, making pure musical virtuosity a focal point of their brand. One of these musicians is Blvc Svnd.
An underground favorite for years, Nasier McKay has captured the attention of listeners by providing them with a steady stream of tracks that showcase his raucous, high-energy flows and musical abilities he honed playing cello in The Inner City Youth Orchestra of LA and school symphony. He’s tackled a variety of genres since emerging as a Soundcloud vanguard. Songs like “LIL GRAIN SHIT” and “MOVING THESE VERSES LIKE PACKS” are exercises in pure aggression and ferocity, while others like “M I A” and “BOBBY FLAY” appeal more to fans with mainstream sensibilities. But this isn’t special. Many artists experiment with a variety of genres, it’s an essential part of artistic growth. What separates Blvc Svnd from other genre-hopping artists isn’t just his consistency, it’s his talent.
That’s not to say he’s unaffected by the current culture. He knows that he can’t rely solely on his talent as a trained musician to be successful. Packaging and maintaining his consistent aesthetic are an equal part of his artistry. “People want to see the person whose creating the music they like” he says, “if you view yourself as a brand, you want your brand to look the best.” He’s also aware that in order to make a living as an artist, going all-out on promotion is the move. “You gotta talk about a release to the point where it’s annoying af.”
This expert knowledge and understanding of both classical music, and the popular hip-hop culture of today, is the reason why Blvc Svnd asked his followers two simple questions on May 16th. “WHO ELSE SPITTIN HARD ASS BARZ OVER THE CELLO?” and “WHEN SHOULD I DROP THIS CELLO FREESTYLE?”
These questions were of course rhetorical, seeing as anyone who watched the Triller would know the answers to be “no one” and “immediately.” McKay’s sinister smile, confident posturing, and cello bowing serve as great precursors to his opening lines.
All of these n*ggas be hating on me, but deep down inside they wanna be me // n*ggas be hating on me, cause they know that I’m a rare ass entity.
It’s clear that the confidence Blvc Svnd exudes in the Triller comes from a belief he knows to be true, that he’s as rare of an entity as boldly proclaims. And he’s got a point. Very few underground artists are capable of creating classical music sounds without the help of a DAW and MIDI keyboard. Very few underground artists are capable of creating any instrumental sound without the help of a DAW and MIDI keyboard. Featuring an instrument in the snippet that he actually knows how to play is a subtle flex that backs up the claims of originality Blvc Svnd boasts at the song’s outset. The audio/visual pairing of cello and swaggering vigor puts little doubt in the viewers mind that McKay’s competition want to be him, at the very least to look less goofy in their own snippets.
While the “CELLO FREESTYLE !” Triller packs a punch and leaves listeners wanting more, the full track delivers a knockout blow that is sure to satisfy hip-hop fans of all kinds. The cello’s low, brooding tone fits well on top of a traditional kick, snare, and hi-hat pattern, setting the tone for McKay to inject his patented brand of brash, audacious vocals into the mix. Right before the energy of the song reaches a fever-pitch, a dark, rumbling 808 makes a grand entrance, giving the track a dynamic boost that’s sure to cause many a moshing-injury at Blvc Svnd’s next show.
Little bitch don’t hit my phone, unless you gon give me a fee
Give me my fee bitch! Give me my fee bitch! Give me my fee bitch!
McKay’s vaunting lyrics continue to add to the liveliness of the track, giving listeners the opportunity to revel with him in the spoils of his talent. The song’s outro features the same ominous cello melody heard throughout the two and a half minute pit-opener. Capping off the song in this way is a fitting conclusion to the track, and brings the main idea that McKay expresses full circle. This ending reminds listeners of two things: Blvc Svnd’s musical ability makes him a force to be reckoned with, and he’s not afraid to let you know. Stream “CELLO FREESTYLE !” below.