Blu & Exile

In 2007, while headlines were dominated by Kanye West vs. 50 Cent and the industry fixated on first-week sales, two artists on the West Coast were quietly crafting something timeless. Blu and Exile weren’t chasing the spotlight — they were building their own gravitational pull.

On July 17, 2007, they released Below the Heavens — a debut that felt more like a sacred document than a first statement. Soul-soaked, sample-driven production. Raw, unfiltered vulnerability. No gloss. No gimmicks. Just truth pressed into wax.

Early believers recognized it immediately. Underground purists and tastemakers hailed it as an instant classic. Limited to just 3,000 physical copies and leaked prematurely online, its scarcity only strengthened its mythology. If you had it, you understood. If you didn’t, you were already behind.



Blu’s everyman reflections — grappling with faith, doubt, love, frustration, and ambition — resonated deeply over Exile’s warm, golden-era-inspired soundscapes. Static in the samples. Dust in the drums. Pain and poetry in every bar. For the Okayplayer generation and beyond, it became a defining statement of West Coast underground hip-hop.
The chemistry was organic. Introduced through Aloe Blacc of Emanon, Exile first witnessed Blu command a Los Angeles stage — hungry, electric, undeniable. One session became “Party of Two.” Then “Maintain.” Then a vision. A full-length statement. They knew it was special.


By 2009, Blu’s momentum earned him a place in the XXL Freshman Class alongside Wale, Kid Cudi, B.o.B, and Charles Hamilton — proof that the underground could crown its own stars.

But they never stopped building.

After Below the Heavens, Blu & Exile continued to evolve together across four full-length releases, each expanding their sonic universe while preserving their unmistakable chemistry:

● Give Me My Flowers While I Can Still Smell Them (2012) — A triumphant return five years later, balancing maturity and hunger, gratitude and grit.
● Miles (2020) — A sweeping, jazz-infused opus inspired by the spirit of Miles Davis, blending live instrumentation with expansive storytelling.
● Love (the) Ominous World (2023) — A darker, textured meditation on love and uncertainty, layered with lush, cinematic production.

Across these releases, the duo proved Below the Heavens wasn’t lightning in a bottle — it was the foundation of a lasting movement.

Meanwhile, Blu expanded his catalog with one-producer masterpieces alongside Madlib, Evidence, and Nottz, while collaborating with artists such as Anderson .Paak, Talib Kweli, Your Old Droog, and Rome Streetz.
Exile solidified his reputation as a producer’s producer with the modern classic Boy Meets World for Fashawn, experimental projects like Exile Radio, and production credits for Mobb Deep, 50 Cent. Big Sean, Wiz Khalifa, and Snoop Dogg.
Now, with nearly two decades of growth, experimentation, and refinement behind them, Blu & Exile return not as hungry newcomers — but as master craftsmen of their own lane. Their latest offering doesn’t feel like just another release; it feels like culmination.
For longtime listeners, it’s a reunion charged with nostalgia and elevation. For new fans, it’s an invitation into a world where lyricism and soul still reign supreme.
The foundation is solid. The chemistry is proven. And history has shown: when Blu and Exile connect, something timeless follows.

Opener - Time (calm.)

calm. (Time & AwareNess) are from Denver, Colorado and have been hailed for their dark poetic broody music laced with social commentary and conceptual albums. Their 1000 song catalog has songs with Mick Jenkins, Common, Blu, Tha God Fahim, Skyzoo, Xiu Xiu, Adrian Sherwood, Ceschi, LaRussell and more. Time gained attention after doing a 100 song mixtape over beats by The Alchemist. AwareNess is a producer who's range spans from film soundtracks with DRock, music for Gary Vee, and working on goth/industrial music with SINE from Metropolis Records. chris time steele is also an author and has collaborated with Joy James and Gerald Horne. 

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