BeatsToRapOn Artist Spotlight - October 2025

From South Africa’s mastert to Roxbury’s reemdagreat to Lagos-flavored tukleanz, we run 10 essential creators on BeatsToRapOn this week: trap bangers, boom bap, Afro-gospel, lo-fi, and reggaeton-swing heaters. Hear the backstory, BPMs, vibe notes, and where to collab.

Deaturing: mastert, pmpbeats, reemdagreat, charlesrichman24, kingston800, kallipurusha, bangazbyboon (explicit), secret, christinah76, tukleanz.

00:00 — Cold open montage
 00:20 — Intro & what this show is
 01:00 — mastert (SA, storytelling hip-hop, 115 BPM) — https://beatstorapon.com/artist/mastert

 02:15 — pmpbeats (trap bounce, 140/120/130 BPM) — https://beatstorapon.com/artist/pmpbeats

 03:30 — reemdagreat (boom bap smoke, 86–104 BPM) — https://beatstorapon.com/artist/reemdagreat

 04:35 — charlesrichman24 (Afro-gospel praise) — https://beatstorapon.com/artist/charlesrichman24

 05:35 — kingston800 (reggaeton swing + hard trap) — https://beatstorapon.com/artist/kingston800

 06:30 — kallipurusha (club bangers) — https://beatstorapon.com/artist/kallipurusha

 07:25 — bangazbyboon (gangsta rap energy — explicit) — https://beatstorapon.com/artist/bangazbyboon

 08:30 — secret (phone-recorded R&B, all heart) — https://beatstorapon.com/artist/secret

 09:25 — christinah76 (old-school hip-hop grit) — https://beatstorapon.com/artist/christinah76

 10:20 — tukleanz (Afro-dancehall “Wedding day”) — https://beatstorapon.com/artist/tukleanz

 11:30 — How to collab + CTA
 12:00 — Outro

We’re building the future—empowering every artist and creator with the tools, beats, and network to share their voice, connect boldly, and leave a mark on the world. 🔗 Visit us at https://beatstorapon.com.

Keep creating. Keep sharing. Keep rising.

Transcript

0:00

Welcome to the Artist Feature Spotlight. We are doing a bit of a high-speed global deep dive today, looking into the huge world of emerging talent. You've shared sources with us, featuring artists from an emerging beatmakers and rappers showcase. Our mission, try and cut through some of the noise, profile these creators. Yeah, and what's really striking right off the bat is just how spread out this showcase is, geographically and sonically. I mean, this isn't one single scene. Not at all. We're talking talent across, what, three continents, South Africa, Nigeria, all the way over to Massachusetts in the U.S. Exactly. So we're gonna try and profile all 10 artists, look at their different roles, because hardly anyone just makes music these days. They wear a lot of hats. Right, and we'll look at their feature tracks, see what's going on there. Sounds good. So where do we start? Okay, let's kick off with maybe the foundation. The producers and beatmakers, the ones mainly focused on instrumentals. First up, Mastered. Okay, Mastered, based in Carletonville, South Africa. This is a perfect example of that self-sufficiency you mentioned. Roles listed are producer beatmaker, artist, and rapper. That ability to handle both sides, the beats and the vocals, it's pretty crucial now, isn't it? Definitely. And you see that versatility reflected in the tracks they've got listed. Yeah, take the first one, free 25K and Flame Pages type beat. It's like storytelling hip-hop, 115 BPM feels aimed at rappers needing a solid beat. Got quite a few views too, over 2,000. Right, but then look at the next one. They just completely switched gears. Free currency, Chilofi type beat talk bout. That drops way down to 86 BPM. Super chill. Exactly, and they explicitly say it's for R&B, lo-fi, chilled artists. So they're like clearly trying to hit different markets. Smart move, covering the bases. And then the third one, free and processional trap beat, jumps right back up to 140 BPM. So different tempos, different moods, real range. Okay, cool. Next one we've got is Plump Beats. Ah, Plump Beats. Their bio kind of stood out to me. It talks about seven years of experience, but really emphasizes just having fun and making connections. That's refreshing. Roles are producer, beat maker, and artist. And that whole fun idea, you totally hear it in the tracks. Like Vibez and Party Night, both trap beats, very bouncy, high energy. Yeah, definitely got that party vibe. Catchy stuff. But then, and this is the interesting bit, the third track, Parasempre, completely different. It's listed as Latin trap. Whoa, okay, so a real genre shift there. Yeah, it shows they're not just sticking to one sound. That ability to cross over, even linguistically, that's a big plus for producers trying to get noticed globally. Definitely. Okay, rounding out this first section, let's look at Reemdegraet. They're based in Roxbury, Massachusetts. Right, Reemdegraet. And look at these roles. Producer, beat maker, playlist owner, DJ, and artist. That's just someone really plugged into their local scene, you know, like curating and spinning tracks too. Makes sense. And the engagement members seem to back that up. Stay high, that Boom Bap track. It's got nearly 5,000 views, 200 likes. That's pretty solid, leaning into that classic hip hop sound. Totally, but what's interesting is the focus, the other two tracks listed, What and Get Down, are both tagged as rap battle instrumentals. Okay, so a very specific niche. Exactly, which, you know, requires super tight production, but it does make you wonder, right? Focusing so tightly on something like battle beats, is that a gamble? Are they prioritizing local cred over maybe broader reach? That's a really good question, something to think about. Okay, so we've seen these versatile producers. Now let's broaden out a bit. A lot of these creators are doing more than just making beats, they're like running businesses. Yeah, absolutely. Let's get into section two. These are creators with more complex roles, maybe wider reach. First up is Charles Hazel, who goes by Charles Richmond 24, from Nigeria, Taraba State. And the list of roles here is, well, it's a lot. Artist, songwriter, lyricist, music manager, artist manager, and promoter event organizer. Plus, he founded his own label, Rich Man Record. Wow, that's full-on entrepreneurship right there. Totally, and his music, it's this really unique blend. Check out Deliver Me, it's based on Psalm 59, has the highest view count we've seen so far, over 3,000. But it's listed as battle rap freestyle, and tagged best rock music. Wait, battle rap, Psalm 59, and rock music? Yeah, it's wild, right? He's doing something similar with 9 Hanya and Heavenly Worship 2, which mixes Afro gospel, and is also tagged best rock music. He's not just mixing genres, he's kind of creating his own lane entirely. That's bold. Okay, next we have Kingston 800, that's Godwin Nathaniel Chris, roles listed. Artist, vocalist, singer, songwriter, lyricist. Kingston 800 definitely seems like a genre hopper too. You see a track simply called Freestyle, then there's Pack Up, which is reggaeton. Okay, varied styles again. But the one that really caught my eye is Kolos. It's hard trap, high energy, 140 BPM. And the description carries this really direct social message. Oh yeah, what does it say? It says, don't get yourself involved in hard drugs, a message to every youth in this new century, using that intense sound to deliver a pretty powerful message. Using the platform for more than just music. Exactly. Okay, who's next in this section? Last one here is Kali Purusha. Their bio mentions hip hop surf on beat. Roles cover production, artistry, and management. Right, Kali Purusha, their tracks, dance, let's see, believe me, they're consistently put in club bangers, floor fillers category. Seems focused on making people move. Okay, straightforward enough. But here's the digital twist. Look at the tags on these tracks. Dance, for example, is tagged with chill, lo-fi, edm, and indie. Hang on, chill and lo-fi on a club banger? Why would you do that? Searchability, it's gotta be, right? In this online world, you need people to find your stuff. So they're kind of tag stuffing, blurring the lines so the track shows up no matter what vibe someone's searching for. Gaming the algorithm a bit. Sort of, yeah, it's about discovery. Like, believe me, is described as having a retro game feel. It's about hitting those keywords, those aesthetics people look for online. That makes a lot of sense, actually. Okay, that whole tag strategy is pretty insightful. Let's pivot now to our third section. This is where we see some really specific personal voices coming through. Artists using their platform for intense stories, unique styles. Yeah, some really raw stuff here. Let's start with Bangas Beboon. Okay, Bangas Beboon. And the first thing you notice in the bio, it's kind of stunning. Right. It says they've only been making beats for a little over two months. Two months. That's so wow. And already taking on producer, beat maker, engineer, mixing, mastering, and artist. Doing it all themselves. Even mentions using AI sometimes. That quick learning curve is just incredible. Total self-starter. And the music is firmly in that gangsta rap lane. Tracks like motherfucking pimp shit Bangas Beboon. Title says it all, I guess. Pretty much. But then there's 16 shots Bangas Beboon. This one feels different. The description, it's super personal, says it's dedicated to his brother about what he's gonna do when he gets out of prison. Apparently someone snitched on him. Hence, 16 shots. It's like turning real life drama directly into the music. Whoa, that's heavy. Using the music almost like a diary or a statement. Exactly. And they also have Westy Bangas Beboon, specifically calling it a West Coast beat. So paying homage to that regional sound too. Okay, a lot going on there for someone so new to the game. Next up is Secret. Secret. Yeah, the bio here is really interesting too. Reads almost like a manifesto. Singer-songwriter, secret DATSTAR writer, Oat-hoach-hoak-warrior-health-enthusiast creator. Lots of facets. The roles focus on vocals and writing. Artist, songwriter, lyricist, vocalist, singer. And the music fits that. It's mainly R&B and soul. Tracks like Let Her Go, listed as quiet storm R&B and Crowned by Fire, which is neo-soul hip hop. Sounds smooth. It does. But what really hits home, I think, isn't just the genre. It's the description for the track, Calm It. What does it say about that one? It's smooth soul, right? Pretty fast BPM, 148. Yeah, but forget the tempo for a second. The description says, and it's in all caps, recorded in my room with my risky phone and earpiece. No fancy studio, just from the heart. Wow. Just laying it bare. Exactly. That resourcefulness, that raw honesty, making music with whatever you've got because you have to, that feels like the heartbeat of this whole showcase, you know, that passion. Yeah, that really resonates. Okay, now we have Christina 76, and just want to note, her bio shares some really detailed and frankly heavy life experiences. Surviving abuse, near-death experience, brain damage healing, a long journey. It's incredibly powerful stuff she shares. Right, and just to be clear for everyone listening, we're reporting on the source content here, focusing on how her roles, artist, rapper, vocalist, singer, connect with her music without analyzing the trauma itself. Absolutely, and given that intense backstory she shares, it's interesting to look at the music she makes. She seems to favor old-school hip-hop, like on Detected and old-school hip-hop. Okay, classic sound again. But here's the fascinating part. All three of her tracks, including Prince and Beats, which is listed as gangsta rap, they're all tagged with chill. Chill, even the gangsta rap one. Against that intense biography. Yeah, it's a really compelling contrast, isn't it? It almost feels like the music itself is this constant, steady, maybe even calming force against the backdrop of everything else she's sharing. Like an anchor. Or maybe a source of healing. Could be, it really speaks volumes about how personal and intentional the act of creation can be for artists. Definitely. Okay, let's wrap up the spotlights with our final artist, Tookleyans. Tookleyans, who also goes by Moonstuff. Roles here are artist, vocalist, singer, and interestingly, A&R talent scout. Oh, so maybe looking for other artists too. Potentially, yeah. Another artist showing that Nigerian influence, mixing it with different styles. We see I Don't Wanna, which is jazz rap. Then Let Me Know, listed as alternative R&B. Nice variety again. And the standout track seems to be Wedding Day. It's Afro dancehall. The description calls it a lively and evocative musical journey, showcasing a cultural blend of pure feeling and sophisticated sonic execution. That sounds like a perfect summary for a lot of what we've heard today. That blend of raw feeling and, you know, polished execution. It feels like a great snapshot of where global emerging talent is rooted in culture, but presented with modern skill. So mission achieved, I think. We dove into 10 really different artists, covered a lot of ground, from South Africa to Nigeria to the U.S., lo-fi, Latin trap, Afro gospel, gangsta rap, the whole spectrum. Yeah, and the thing that keeps jumping out is just how much these artists are doing themselves. Producer, engineer, manager, promoter, often all rolled into one. Totally self-sufficient. Whether it's someone like Rump Beat, seven years in, just focused on fun and connection, or Bangas B Boon, mastering stuff in just two months, the driving force seems to be sheer passion, right? Not necessarily fancy gear or big budgets. It really makes you appreciate how these online platforms let these very personal, very specific sounds and stories get out there without needing the old gatekeepers. For sure. And okay, here's something else to chew on, a final thought maybe. We saw all these tracks, right? 30 tracks in total across the 10 artists, and the view counts were pretty decent, hundreds, sometimes thousands of views. Right, some good numbers there. But according to the data we had, for every single one of those 30 tracks, the number of reported plays, like actual full listens, was zero. Zero, across all of them. Zero. Now that could be a data glitch, who knows. But it raises a really interesting question, doesn't it? In this world of online music, what actually counts as success or engagement? Is it the view count, which might just be people clicking through, or is it the number of people who actually listen all the way through? Views versus actual plays, what's the real measure? Exactly. Something for you, the listener, to think about as you explore all this amazing emerging music out there. What does engagement really mean today?