LISTEN: MoCity Jones Challenges Modern Hip-hop With Otherworldly Flows and Qucik Wit On “The Sand Pit (Raptor Jones)”

Mocity Jones is a Detroit rapper with the goal of blending old-school hip-hop with new-school flavor. Heavily influenced by MF DOOM, Kool Keith, and Eminem, Jones decided to pick up a mic after years of writing poetry and making beats. His album, moe, has done over 200,000 streams and showcases the many different styles of hip-hop. Jones regularly works with producer Jpalm, who has produced for Bizarre from D12, Guilty Simpson, Jon Conner, and more. Mo has been in the Detroit underground rap scene for years, striving to build community in one of the toughest audiences in Rap.

On his new single, “The Sand Pit,” Jones takes aim at modern emcees and raises the bar for his peers. This song only begins to tell the tale of Mocity Jones, a diehard Hip-hop aficionado who is hellbent on rejuvenating the genre and bringing underground tropes to the mainstream. “The Sand Pit” finds Jones locking lyrical horns with an unworthy opponent, a unique way of flexing his writing prowess. In the song, Jones drops face-melting rhyme schemes and confident flows against this anonymous opponent. While conceptually, the track is captivating enough, Jones isn’t satisfied with his own cleverness. He is rapping as if trying to prove to himself just how talented he is, and he should be more than satisfied. “You just a little prick like I’m getting my blood work,” exclaims Jones in his second verse, which is just a hint of the lyrical mastery displayed in “The Sand Pit.” Throughout the song, Jones attacks these verses like a true battle rapper, taking no prisoners and allowing his rhymes to do all the bragging. Jones is single-handedly elevating Detroit Hip-hop to new heights, and “The Sand Pit” is just the start. The artist’s latest release is a high-concept and expertly executed piece of modern Hip-hop that balances Jones’s visions for the genre with his restless creativity. 

“This song is a metaphor for how people look at hip-hop today,” explains Jones. “Lyricism is not only secondary but it is seemingly shunned as the ‘old head style.’”

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