Porter Ray's meteoric rise to one of Seattle's most promising Hip Hop acts is well documented. Recent articles by The Stranger, UW Daily, City Arts, and Sway's Universe articulate the city's favor of Ray. A refreshing breath of fresh air injected into a conversation that beforehand, only consisted of white rappers, producers, and gatekeepers who continue to rest their laurels on being THE only access points. While most of America revels in the wizardry that some of Seattle's more popular Hip POP artists often manufacture, others have a craving for the real deal. Ray seems to be just that. A combination of rare charisma, naturally delivered in the form of vividly detailed street chronicles of life in Seattle's South End. Last May, Porter Ray released his very first body of work. A mixtape EP aptly titled, Blk Gld, presented as an ode to his Central District upbringing. To further his point, Porter Ray gets right back to the business of playing catch up, releasing a 2-part EP/follow-up titled, The Wht Gld/Rse Gld EP. A purging of sorts, of thoughts, ideas and personal feelings, all recorded during the same time period [of Blk Gld]. Hometown anthems such as Teenagers, Delta 88s, and Summertime, display Ray's youthful innocence, while simultaneously detailing both the spoils and pitfalls of Seattle street life. Rse Gld however, sounds more mature, more reflective. His viewpoint tells of man who is slowly coming into his own, finally realizing the error of his ways, and consequences of his actions. Records like Paper Money Pyramids, Pavement, and even Black Cindy Crawford speak not only to Ray's personal growth, but his progress as an MC. But honestly, I'm biased. He's family, so this column is not objective in any way. Except for the fact that if homie wasn't ill, I wouldn't be writing this article in the first place. But he is. And what I've heard from his next EP, Fundamentals, I promise that most of you will feel the same way. Word to Drix.

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