B-Side Guys

ProjectPorter strips away drums entirely on “Madonna,” letting dusty vinyl crackle and 70s Rhodes keys create implicit rhythm while Showtime Ramon delivers bars about mystic moments in combat sports history. This unexpected structural choice defines “Pressure,” where traditional hip-hop elements dissolve into alternative approaches across five tracks that reimagine what beats can do when they stop trying to be beats.

The EP’s first half plants firm roots in hip-hop tradition before venturing into stranger territory. “Car Chase” builds tension through carefully chosen Bond film dialogue while Ramon connects unlikely reference points – comparing his competitive drive to both Bobby Fischer’s chess strategies and Anderson Silva’s striking accuracy. “Back Seat” introduces Gustavo Louis, whose masked persona and narco narratives initially seem at odds with Ramon’s style until their verses reveal shared appreciation for wrestling heel turns and boxing’s golden age.

Porter’s production on the EP’s second half demonstrates how absence creates presence. “Madonna” employs zero percussion but generates momentum through sample interaction – gospel choir fragments collide with synthesizer swells while Ramon maintains rhythmic structure through internal rhyme patterns. His bars about “watching Hagler throw combos while reading Machiavelli” exemplify the project’s fusion of intellectual reference points with physical imagery.

“Mitch Green” refers to Tyson’s forgotten street fight opponent but expands into meditation on overlooked moments in combat sports, with Ramon threading observations about technical fighters who never got title shots between Porter’s ethereal keyboard loops. The production creates phantom drums through careful sample editing – vinyl pops become snares, room tone transforms into bass hits.

Closing track “Pipe Dream” pushes furthest into experimental territory as Porter constructs melody from manipulated radio transitions and analog synthesis. Ramon responds by breaking his verses into fragmentary images that prioritize sound over straightforward meaning while maintaining sports metaphors as structural backbone. When he describes “swimming through Sakuraba footage like watching underwater ballet,” the delivery mirrors Porter’s liquified production approach.

The EP’s ten-minute runtime allows no wasted moments, with each track exploring different facets of their shared aesthetic. Porter’s commitment to drumless production forces closer attention to how other elements create rhythm – sample decay becomes percussion, silence carries as much weight as sound. Ramon adapts his flow throughout, sometimes riding implicit beats and other times creating his own through carefully placed internal rhymes.

These production choices particularly shine on headphones, where Porter’s careful stereo placement becomes apparent. Samples drift between channels while maintaining central focus for Ramon’s vocals, creating immersive space without sacrificing clarity. This attention to mix detail helps maintain energy even without traditional percussion driving the tracks forward.

The collaboration between Sacramento and Brooklyn produces interesting tension throughout “Pressure.” Porter’s East Coast approach to sample manipulation meets Ramon’s West Coast narrative style, creating something distinct from either region’s traditions. Their willingness to abandon conventional structures midway through the EP demonstrates shared trust in their musical instincts.

Where previous Ramon releases relied on raw energy, “Pressure” finds power in precision. His pop culture references never feel forced because they serve larger themes – comparing fighting styles to chess strategies, finding parallels between combat sports and classical literature. Porter matches this lyrical specificity through production that prioritizes mood over obvious impact, creating beats that reward repeated listening through subtle detail rather than immediate force.