Everyone has their favorites despite how old they may be. The most masterful pieces of music are often lost in the same year that they’re released, and left in the past. This week, we will be revisiting 2014 to remind readers of Alex Wiley’s Village Party mixtape.
Somewhere lost in internet abyss, you’ll find millions of underappreciated rappers who have put out some of the greatest compilations of exotic and groundbreaking sounds that hip-hop could’ve ever diagnosed.
Aside from the fact that most radio stations across America have for the most part denied playing music released from whoever refused to sign a major label deal, the rap community has for some unknown reason, become content with promoting the most similar sounding music. This music is undoubtedly known to loyal rap fans as the most substance-lacking creations ever brought into the game.
If you search long enough, you’ll find the man who rests peacefully in the radio constructed contemporary asylum. Alex Wiley was once loved by crowds of young people all over the country, but these kids grew older and the collective sound of rap music reshaped into the highly conglomerated mold that it is today.
Wiley provided listeners with a different point of view for every tune, whether it was the drugs talking or his truly multidimensional perspective on what rap should be, he introduced some of the most influential rap melodies and cadences that eventually became subject to sound biting. He first stepped on the scene out of the infamous city of Chi-Raq, during the city’s golden era of drill music.
The first tape that made Wiley’s name boom throughout the internet was his 2nd, Club Wiley, which strayed away from the drill music style and instead infused the original Kanye West influenced windy city vibe. Wiley was once very publicly connected with fellow Chicagoan and now a world-famous rapper, Chance the Rapper.
The two artists put out many singles and project pieces together, most notably “Navigator Truck”, from Alex Wiley’s 2015 mixtape Village Party 2: Heaven’s Gate. The sequel to Wiley’s first Village Party tape included an earful worth of elongated techno sounds and of course, Wiley’s superior lyricism.
It is undeniable that he may not carry himself the same as the most popular rappers today, neglecting to flex the “iciest” chains and most decorated vehicles. Alex Wiley has also adopted the image of an avid experimenter of different compositions of drugs while creating his music, just as Chance the Rapper was at the beginning of his career while recording 10 Day and Acid Rap.
There is a very long list of musicians of every kind of music, who have also visioned the same experimental outlook on their own creations.
Alex Wiley is one of the few organic lyricists left in the rap game; he chooses to stay in his lane and veer away from recycled lines. The beats that Alex puts on his tapes are uncommon and developed uniquely with the use of fresh sounds and a symphonic atmosphere. Village Party was a very pivotal project for the rap industry.
While incorporating the SaveMoney theme along with many other early “woke” references and tangents, Wiley opened the third eye of his fans with its release. This was at a time when being woke was something new, and not just a logical fallacy that was eventually obliterated and swallowed whole by conservative mindsets.
The sequel to this tape revisited the same agenda for the most part. This is not a rant about Alex Wiley not getting enough love anymore, because he does in fact still release music, and is still respected by lovers of lyrical complexion.
Put Alex Wiley in a booth with the most mainstream rappers today, and he will 100% of the time body them all. Village Party’s 11th track, “Forever”, featuring Mick Jenkins couldn’t have been better produced, and with two rappers dedicated to music with substance, the song is automatically energizing.
There are many other songs in Wiley’s catalog with just as much effective tuning. Our world deserves to hear his treasures that are considerably buried underneath heaps of the dirt-worth mush music that young people today, are sadly peer-pressured to indulge in.
Wiley is nothing like the wide range of nagging conscious rappers that pop up on social media feeds on a daily basis, because of the sonic quality that comes along with his music. He can rap on any beat from trap to be-bop, slurring his words or stating them with strength, and always adding a flawless punch to the end of his most controversial lines.
Wiley can rap almost as fast as legendary cadence master Twista, and preach about reality and struggle at the same time.
Village Party is essentially a large part of the starting point of the era encouraging being capable of well-roundedness as a rapper for this generation. His unmeasurable grasp of rhythms and consistent rhyming skills placed on the tape are entirely superb.
Wiley’s follow-up tape, Village Party 2, emitted the same quality of energy. He took on his demons throughout both tapes, locking in with his inner thoughts and presenting scripts that he felt the world needed to hear. His sound is very original, in competition with no one else, and especially diverse in comparison to the rap music that gets the most plays during this current state that the culture is currently in.
If you’re tired of watching the same old tumbleweed pass by, sink your ears into the classic mixtape, Village Party.