Artist Profile: money for water
money for water, a rapper native to Charlotte, North Carolina, crafts subdued, conscious tracks that serve to elevate not only his own artistic capabilities but the Charlotte rap scene as a whole.
He began writing rhymes in his journal as early as seven or eight years old, and, as time went on, he gradually realized that his hobby of writing poetically was not only something he enjoy, but something that he was exceptionally skilled at.
For a long time, this exercise was exclusively limited to his notebook. However, by the time he was in high school, he began to focus more seriously on rap as a creative outlet. He lists his influences during this time as Earl Sweatshirt, Dash, and Wiki, staples of the alternative hip-hop scene in the 2010s.
Over time, he discovered the emotional catharsis that writing presents and tentatively began to explore accompanying his rhymes with instrumentals.
“[I love] just clearing out and clarifying how I feel for myself before other people can help or hurt or whatever they're going to do. If you can just figure out how you're feeling for yourself, know who you are, then that's a good first step for any growth or problem solving in life.”
His first project on streaming, 2022’s No Ones Trophy, displays this search for clarity in abundance. Its lyrics sway between meandering introspection and pointed drops of wisdom, consolidating into a unique and memorable body of work in the midst of this journey.
Yet, with his newest project, Traveling Light, money for Wwter has truly grown into his fullest form. The project, while employing much of the capabilities that made No Ones Trophy special, intentionally oscillates between a sort of warm and cold dynamic, balancing itself between a comforting proximity and a spatial depth, a brightness and darkness.
Like many artists, he faced the early challenge of needing to be wholly self-reliant, especially as a rap artist. However, he recognizes that this journey is part of what made Traveling Light so specially intentional.
“It's really just challenges within yourself; it's just music. It's just however you express yourself, whatever creative outlet you choose. You've just got to believe in yourself and just not put too much pressure on yourself because you only have yourself to please or let down or whatever. Then [eventually] that's when you get to collaborate with people who know stuff that you don't know. And then that's what the journey is.”
Now, money for water’s place in the rising Charlotte rap scene has been cemented. With lyrical virtuoso Mavi at the forefront, the Charlotte underground has a plethora of interesting acts in its midst, including Jah-Monte Ogbon, Lamaj, and the rap collective KILLSWITCH.
As he continues to work toward his next ventures, Money for Water looks to continue expanding his collaborations within and efforts to lift up this scene. His voice and intention are not only unique but will also be vital in the growth of a budding rap locale.
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Otlo, the artist moniker of Tennessee-based indie and vaporwave-influenced songwriter Preston Bearden, first began as simply a creative outlet— a way for Bearden to explore a sonic niche that he had fallen in love with as a teenager during his first real exposures to music. But as he continued to delve deeper into the world and the character he had created, he felt himself becoming more convicted of his creative aspirations, and his latest album, A Boy Can Dream, shows the vulnerability and the openness of sound that has accompanied that development.
Void Comp, the alternative electronic project of Edmonton-based songwriter David Julé, began simply as an exploratory pursuit— while Julé knew he wanted to make music, he didn’t know the exact path his voice could carve for him. But as he continued his sonic experimentations, and continued to etch out his distinct style as a songwriter, he struck upon something tantalizing: a synth-filled mixture buoyed by his prowess on the electric guitar and rounded off by his textural approach to his vocals. The result, as exemplified on his debut album Passerby, transcends even the experimental strictures of the genre that he occupies.
Neptune’s Core— the alternative rock band composed of sisters Kaitlin and Jackie Cywinski and Sofie and Hannah Richter— has been making waves since their first appearances on the local Chicago scene back in the late 2010s, when each member of the band was at some point in their journey through high school. But as time has gone on, their vision of what the band could be has become more and more ingrained in their collective creative identity, and as they prepare for the release of their debut album Pivot, each member is well aware of the weight this next step carries.
Spacemoth has served as the experimental playground for instrumentalist and songwriter Maryam Qudus since 2020, and in that time she has developed an otherworldly sound— one that has expressed itself in both a resolute darkness and a cosmic playfulness. But the thread of creativity, of a desire to explore and experiment, goes all the way back to her childhood. Her latest record Inward Eye, in many ways, represents the culmination of these efforts and experiences.
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When Ontario-based songwriter Cam Kahin first started making guitar demos in his bedroom as a teenager, it was the angst and the raw energy of the music of his youth— the Warped Tour sounds of the mid-2000s— that truly appealed to him. And now, after a major label EP and a full album distributed across mainstream channels, Cam feels as though he’s rediscovered the sound and energy that first spurred him into creativity, and his experimentation and musical wanderings have returned to the sonic point he has called home since he first picked up the guitar.
Over Floyd Zion’s last two releases, 2023’s full-length Pink By Floyd and his 2025 EP who hurt you?, the Los Angeles-based indie artist has painstakingly carved out an unassailable sound, carefully interlocking the adrenaline-pumping rhythms of his experiences as a producer with a grungier, distinctly lo-fi guitar sound and his trademark distorted vocal approach.
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