GENIA RIDES FOR THE UNDERDOG ON “FALSE PROPHET,” HER NEW SINGLE

FOLLOWS UP “INTRODUCING,” #1 SOUNDCLOUD SMASH DEBUT BY 21 YEAR-OLD VICTORVILLE, CA SINGER-RAPPER

“FALSE PROPHET” IS FINAL ADVANCE MUSIC BEFORE DEBUT MIXTAPE, 4PM IN THE VILLE

Genia, the uncategorizable singer, rapper, and fierce R&B phenom from the streets of Victorville, California, who found her groove earlier this year on her aptly-titled “Introducing” smash debut single + video via Def Jam Recordings – which hit #1 on the Soundcloud New and Hot: R&B Charts – rides once again for the underdogs on “False Prophet,” the new single + video out now. Genia has stated that this is the final advance music prior to the release of 4PM IN THE VILLE, her debut mixtape.

“You don’t care if I’m hurting
These scars deep within
And you left me deserted
And I can’t forgive
I got so many questions
That went unanswered
But you’ll never be able to take what you don’t give”
– Genia, “False Prophet”

Back in February, Genia released five different versions of “Introducing” – A Capella, Sped Up, Slowed Down, and an instrumental outside of the original. She also revealed a new music video treatment of the single. In that spirit, in the run-up to the release of 4PM IN THE VILLE, Genia will be filming live performance “garage band” versions of “False Prophet” at home in Victorville, along with covers of classics including Roberta Flack’s “Killing Me Softly With His Song,” Janet Jackson’s “Let’s Wait Awhile,” and so on. In other Genia news, check out her opening up for fellow Def Jam artist Coco Jones live at Echoplex in Los Angeles HERE.

Last month, Genia-followers were treated to two other tracks: “Jaded,” an emotionally charged confession (“Ask me how I feel/ I’m’a say I’m jaded”); and Fleetwood Mac’s “Dreams.” Genia adds a touch of her own magic to the original, infusing the performance with a certain grit and spirit as the warm guitar tones are plucked on a Fender Strat. Global Grind touted the track on its “New Music Roundup.”

Genia has spent a lifetime using music as a form of therapy. “I feel like I make music for everybody,” she says. “But mainly for women to feel badass. I wanna feel like I have the power. I wanna feel like I’m that bitch. That was kind of my thing: to make bad bitch music, but also to make vulnerable music, almost like somebody’s reading my diary. If only one person finds peace in my music, then I know I’ve done my job.”