406ahmad – “Life of Ahmad 3” review

This is the 3rd studio LP from Kuwait producer 406ahmad. Releasing his full-length debut Life of Ahmad & the sequel in 2024, he would go on to follow it up with the Life of Ahmad 2.5 & 40.6FM® ‎#Tuned Back In extended plays respectively prior to becoming one of trap music’s most in-demand producers after working with the likes of Diorvsyou& most notably 9 Vicious. Coming off B4LOA3 a couple weeks ago, the final chapter of the Life of Ahmad trilogy has been uploaded onto his SoundCloud page.

“Love in the Air” by 9 Vicious kicks things off wanting to get to know this female over a regalia instrumental asking for her name & number whereas “Church Chicken” by Nosaint continues to blend these lush orchestral arrangements with trap percussion talking about feeling like O.J. Simpson despite feeling like the latter’s guilty of his crimes. “So in Love” by 9 Vicious samples “look, dont touch” by revivle throwing shots at YSL Recordstowards the end claiming he’s richer than the whole roster while “Pray for Me” by NDO D talks about too many people nowadays fakin’ shit.

Dragnutz handles the performances for the 2-parter “& 1 / 100 Sum” talking about everybody tryna get something outta him now that he’s gaining popularity & moving fast while “Whore” by 9 Vicious wasting a flip of “Pissy Pamper” by Young Nudy featuring Playboi Carti on Lil Trey’s horny lyrics. “Production Deal” by 9 Vicious oddly disses Nosaint when they’ve collated a few times already while “Don’t Got the Answers” by 1oneam cloudily talks about hopping inside a phantom.

“My Dog Ate My Homework” by Protect begins the Life of Ahmad 3’s other half flowing over this calming trap beat explaining that he can’t bitch because everything’s perfect timing to him while “Only Time” by 9 Vicious luxuriously talks about a hoe who solely hits up his line whenever she gets faded. “Lawyer” by Nosaint hooks up these hi-hats & gorgeous piano chords bragging his legal practitioner’s Jewish ethnicity while “Ms. Zombie” by BabyBartier talks about no one doing what he can over a plugg instrumental.

9 Vicious makes his final appearances during “Flaat” & “Everything Written”, where he spends 84 seconds ruining a sample of “Long Ride” by Young Nudy rambling about labels munchin’ on his dick until the latter embraces a smoother pop rap direction admitting he’s been cheating on the woman he’s addressing. “Real” by Lil Tyh & Yungzayy talks about being more authentic than everyone who stays cappin’ & the “Different Fashion” outro by Lil Tyh concludes the album spitting decent romance bars.

If you didn’t know already: 406ahmad played a HUGE role in helping 9 Vicious blow up considering his ear for sampling often carries the latter’s performances & the fact Ahmad’s produced a great deal of 9’s discography. However, I did enjoy Life of Ahmad 3 more than the 3 EPs or other 2 albums he’s done in the past couple years even if I’m somewhat torn by the final results because I’d love to hear him expand his resume including more artists he hasn’t worked with who’d compliment his sounds going forward.

Hit-Boy – “The Chauncey Hollis Project II” review

Here is the 8th mixtape & 2nd of 2026 from Fontana, California producer, MC & singer/songwriter Hit-Boy. Emerging after Polow da Don took him under his wing by signing him to his Interscope Records imprint Zone 4 Records, his early production credits range from “Stronger” by Mary J. Blige to “Drop the World” by Lil Wayne & Eminem, but wasn’t until the winter following the last 2 jams where he would catch the attention of the Chicago jeen-yuhs himself Ye formerly known as Kanye West by producing his Christmas posse cut “Christmas in Harlem” & becoming an in-house producer for G.O.O.D. Music for 2 years approximately 5 months after that. It was there that he would cookup some notable bops such as “N****s in Paris” by The Throne as well as “Cold” by Ye & even “Backseat Freestyle” off Kendrick Lamar’s sophomore album albeit major label debut good kid, m.A.A.d. City. He then launched his now defunct Interscope imprint HS87 Music as his tenure under Kanye’s wing was coming to a close, continuing to build a reputation for himself by working with the likes of Beyoncé or Drake & Travis Scott. But it’s no secret that this decade has easily been Hit-Boy’s most prolific yet considering his work with Big Sean, Benny the Butcher & of course Nas. His own solo debut Surf or Drown would arrive in 2023, coming off HITStory 2: Success is a Dirty Word earlier this summer to drop a sequel to The Chauncey Hollis Project.

“On a Streak” begins with an R&B sample so he can lay some braggadocio on top of it whereas “Politickin’” talks about his success & his refusal to rest on his honors. “Lunch Line” featuring The Alchemist brings back those Goldfish vibes they gave us 52 weeks earlier over this summery beat & after “It’s Over” clocks another $1M, we have Hit fondly looking back at childhood memories during “Cannonball” remembering those who were later murdered in cold blood.

03 Greedo appears for “P.O.P. (Purpose Over Pride)” so they can talk about putting motives above ego while Don’t Let Them Stress You” by Half-a-Mil links up over a boom bap instrumental to talk about not allowing anyone bring you down. “Tech Decks” advises those who ain’t tryna face him to get the fuck up out his way & “Overdid It” ends The Chauncey Hollis Project II on a more layered note that starts off with some melodic piano chords suggesting maybe he could change the ending.

Scaling back the number of catchy hooks & radio friendliness, The Chauncey Hollis Project II does feel like an extension of sorts to it’s 2020 predecessor telling us what’s been going through Hit-Boy’s mind instead of looking to pack up the dance floors. There’s more variation to the production bringing secondary influences of chipmunk soul & jazz rap into the picture although HITStory 2: Success is a Dirty Word’s balance between boom bap & trap doesn’t lose itself as Hit gets some stuff of his chest.

Score: 3.5/5

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Lil Gotit – “B4EON (Everything Or Nothing)” review

Lil Gotit is a 27 year old rapper & singer/songwriter from Atlanta, Georgia notable for being the younger brother of the late Lil Keed. He also has 6 full-length studio LPs along with a couple mixtapes & an extended play of solo material excluding that recent Fraternal collaborative effort they dropped last Halloween, preluding his 7th album E.O.N. (Everything Or Nothing) under his newly formed label EON$TAR Records by dropping off his 2nd EP warming us up for this next chapter of his career.

“Chanel Oh My!” opens up with this country trap intro expressing his love for the French luxury fashion house whereas “Denim Shorts” goes for a cloudy vibe instrumentally talking about this hoe saying she’s in love with him. “Star Tank Tops” works in some organs & hi-hats wanting his crew to keep going if he ever winds up stopping & after “Make Her Twerk” gets lustful for a couple minutes, “Pskii” brings a darker atmosphere to the table talking about pushin’.

As for “Bone”, we have Gotit telling us the type of bitch he prefers leading into “Shrooms in Tulum” talking about consuming psilocybin when he was exploring the Mayan location out in Quintana Roo, Mexico. The song “Scooby & Shaggy” featuring Tall Mal likens themselves to the main character of the Skydance Corporation subsidiary Warner Bros.-owned Scooby-Doo franchise & his best friend while “Out da Way” concludes B4EON talks about money being the only thing he’s chasing.

E.O.N. (Everything Or Nothing) was originally announced back in July & now that it’s finally coming sooner than we think following several delays, B4EON holds fans off with an EP that proves the point I made when I reviewed Fraternal saying that Lil Gotit’s discography doesn’t blow me away like Keed’s did. I’m already well aware the upcoming LP will have star-studded guests & producers involved which is why I’m still excited for it, but I don’t see myself revisiting this very often.

Score: 2.5/5

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Yeat – “Luh Leakyz” review

New surprise mixtape & the 4th overall from Portland, Oregon rapper Yeat. Emerging in 2018 off his debut EP Deep Blue $trips, he’s been dominating the mainstream since 2021 whether it be him dropping a plethora of projects or receiving cosigns from the likes of Drake & Earl Sweatshirt. He eventually signed to Geffen Records, who backed his sophomore effort albeit major label debut 2 Alivë few years ago & it’s companionable deluxe EP Gëek Pack shortly after. Lyfë, Aftërlyfe, the experimental Capitol Records debut 2093, Lyfestylë, Dangerous Summer and A Dangerous Lyfë & A Dangerous Love all followed & has come off last month’s Cocoon to drop Luh Leakyz.

“Lil Krazy” brings in the bells thanks to Trgc so Yeat can talk about the way he lives & former associates betraying him whereas “Time Passëd” produced by Internet Money Records in-house producer Synthetic brings a quirkier trap vibe to the table flexing the tall money he’s earned himself. “Liv Dis Lyfe” made for one of the more decent tracks regardless of him looking back at the times when he was down bad while “Real Trendsettër” digs up a Lyfestylë outtake talking about being the one they copy.

Meanwhile on “When tha World Ends”, we have King Tonka explaining that he can’t trust a soul in this world & bots making up a great chunk of his detractors while “Marching” reunites with BNYX of Working on Dying to talk about being so high to the point where he hasn’t touched the ground yet. “Sklub” looks to fuck up the game & dismisses anyone who thinks they can do this shit better than him while “U Could” assures this woman she could fuck a boss if she wanted to.

“X with the Boot Up” experiments with an EDM sound talking about mixing all sorts of drugs he enjoys taking where it’s dropping a percocet inside his cup of lean or combining 2 different forms of ecstasy but after “Diseasë” flips his haters’ criticism directly back at him asking why he’s so rich if his motion’s fizzled out over a futuristic venny beat, “HeliMAn” talks about him frequently using private jets for traveling.

The song “Countup” featuring Summrs finds the pair trading bars with each other over a trap instrumental with some heavy synthesizers admitting their not worried regarding finances because they’re already achieved wealth without any advances while “Martian” brushes off any critics since he’s right where he wants to be. “Last Day” concludes Luh Leakyz making it clear he doesn’t give a fuck what anyone fucks with or does.

Yeat goes through the vaults & compiles 14 previously unreleased tracks onto a 40 minute mixtape in preparation for his upcoming 7th album Reborn set to arrive at some point during the new year, kinda like what Lucki did with Last Laugh the previous weekend except there’s a chance I could prefer Luh Leakyz of the 2 & would welcome a sequel if it ever happens in addition to placing it above the Cocoon EP he gave us only 4 weeks earlier.

Score: 3.5/5

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Sir Untre – “At Least I’m Going to Heaven” review

This is the full-length studio debut from Macon, Georgia recording artist & producer Sir Untre emerging back in 2021 off his debut extended play Beyuntre. He would go on to follow it up with Cool Shit for All Platforms as well as N****s in New York & fella’s really on the way, ATRISKFELLA. King @, before fella 2 & ATRISKFELLA 2 preceding the @ Now, Die Later mixtape. Coming off Rookie of the Year & Sabotage however, the Internet Money Records signee’s having Sony Music distribute At Least I’m Going to Heaven.

“Shrug My Shoulders” kicks things off with this terror plug intro talking about getting back on his bullshit again whereas “Imaginary Friends” works in a cloudy backdrop & some 808s flexing he’s gonna have to cop himself Chrome Heart boots now that he’s rich. “Extended Weapon” instrumentally goes for a pluggier vibe so he can spit that gangsta shit while the rage-inducing “Stone Cold” talks about exactly how cold this game can get.

Meanwhile on “My Wife”, we have Untre over a cloudier beat declaring he’ll do anything for the woman he rings up leading into “Airsoft” featuring Sk8star produced by PROJECT4PLAY finds the pair painting imagery of the gangsta lifestyle together. “Need Me a Check” featuring BabyBartier ends the 1st leg of the album talking about being owed some money over a plugg beat just before “My Purpose” brings the hypertrap elements back acknowledging some know his motives.

“Gender Fluid” continues the 2nd half of At Least I’m Going to Heaven talking about people wanting to count him in after sleeping on him for so long over these buzzing synthesizers while “Hardhead” lets off shots because he’s fed up with all the bullshit. “T.Y.S.A.H. (Take Yo Scary Ass Home)” sends some advice towards those lying about having guns & money when they really don’t while “Backseat With That Carbon” featuring BabyBartier & unitus links up for a Internet Money posse cut.

The song “Mummy” was said to be Untre’s least favorite here & I can understand why since I feel like the rage beat he’s rapping over can come off a bit messy, but “I Told ‘Em” aggressively moves forward talking about getting mad anytime someone gets in his lane to the point where he shoves them completely out of his way. “Fully in My Pants” sends off At Least I’m Going to Heaven on a cloudier note admitting he can’t dance because of the firearm in his pockets.

All 4 of the We All We Needed performers held their own weight on that LP a couple months ago & At Least I’m Going to Heaven gives Sir Untre his proper time to shine with the most fully realized entry in his catalog. There’s more consistency to the terror plugg, cloud rap, rage & plugg production than his labelmate BabyBartier’s major label debut Nightmare on Rodeo earlier this year & there’s more of an emphasis surrounding gangsta rap lyricism.

Score: 3.5/5

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Che Noir – “It Takes a Village” review

This is the latest & 4th studio LP from Buffalo, New York emcee/producer Che Noir. Discovering her after 38 Spesh signed Che to TCF Music Group & fully produced her first 3 EPs, her Apollo Brown-produced full-length debut As God Intended & then her self-produced 4th EP After 12 during the 2nd half of 2020 was where her potential began to blossom exponentially. She has since followed this up with the sophomore effort Food for Thought as well as The Last Remnants, the Big Ghost Ltd.-produced Noir or Never, The Color Chocolate, The Lotus Child, the Superior-produced Seeds of Babylon, The Color Chocolate 2 & No Validation. Coming off Desired Crowns with 7xvethegenius merely 11 months ago, she’s finally putting out It Takes a Village.

After the “Unity of Thought” intro, “This Morning” kicks things off with this bright opener recalling the summer mornings riding around her city whereas “Grandma’s Cookies” embraces a drumlessly jazzier vibe instrumentally talking about her life not being for the weak. “Urban Essence” featuring The Uce & produced by Havoc admits to having issues in their lives going deeper beyond paying bills just before “A Caged Mockingbird” talks about being unable to head count the people around her she has left.

Black Thought appears on “Fame & Fiction” so they can make distinct separations between the 2 over a Mathematics beat while “Conductor’s Interlude” feels more like a 2 minute freestyle on top of a Conductor Williams instrumental. “Blood Bath” continues the 2nd half of the album maintaining the hardcore vibes lyrically leading into “My Village” bringing Nottz behind the boards to chop up a soul sample & have Che talking about hopes of making her mother proud.

“Olive Branches” featuring Jynx716 finds the pair talking about knowing 2 ways to make money & continuing to enjoy both methods while “Wasted Time” featuring Ransom gets conscious together over a soulful Conductor instrumental. “Magic” featuring Bruiser Wolf ends It Takes a Village with a chipmunk soul flare to the Chuck Strangers beat prior to a switch up distancing themselves than talking about their own issues.

Assembling a group of collaborators to match the title & its ambition, It Takes a Village will certainly rank amongst the most personal music in Che Noir’s discography although it’s not one of my favorites. The production side of things really picks up close to the midway point of it, but the themes of transitioning into motherhood gets an honest exploration from the support systems to the sacrifices & the community it takes to build a life & a career simultaneously.

Score: 3.5/5

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Anderson .Paak & Cordae – “Heavy is the Head” review

Oxnard, California rapper, singer/songwriter, producer, drummer & actor Anderson .Paak and Suitland, Maryland rapper & singer/songwriter Cordae joining forces for a new collaborative studio LP. Both of whom have already crossed paths on the widely praised singles “R.N.P (Rich N***a Problems)”& “2 10s” as well as establishing themselves individually over the years, but have finally decided to elevate their chemistry having EMPIRE Distribution & Mass Appeal Records distribute Heavy is the Crown through both artists’ own labels Apeshit Inc. & Hi Level Productions.

“58th Floor” kicks things off with the pair trading verses back-&-forth each other over a boom bap instrumental from J. Cole like they’re having a normal phone conversation whereas “Airbender” goes for a symphonic trap vibe for 88 seconds talking about running with the best or getting left behind like the rest of the losers. “I’m On” finds the pair getting boastful over a darker FNZ beat while “A Good Day” samples “Lovely Day” by Bill Withers & “It’s Like That” by Mariah Carey for a decent lead single themed around gratitude.

Meanwhile on “You’re Mine”, we have .Paak & Cordae over a funky 9th Wonder instrumental expressing their frustration regarding a woman they met at 3 who now has a child being treated poorly while “Days Go By” begins the 2nd half looking back at when they used to watch the time flying past them as kids. “Crown” treads the chipmunk soul waters thanks to Conductor Williams so both of them can talk about being musical royalty while “Days Like This” explains why the give God the praise they do.

“Karma Tax” winds down the last leg of the album explaining that having to pay inevitable the cost of predestination while “Helpless” talks about Cordae’s mom siding with an ex after a breakup & .Paak showing up to his child’s birthday party drunk. “Godfather II” wraps up Heavy is the Head with this orchestral boom bap outro Swizz Beatz cooked up spitting hardcore verses directed at anyone who wants to step up against them in a battle.

The split reception of Heavy is the Head’s announcement was understandable considering Anderson .Paak hasn’t put out a solo effort in almost 7 years, but I think those who enjoy his crossovers with Cordae will get a lot out of this full-length some have been clamoring for. I love that they got some other notable names involved with the production outside of Cole who all play their own roles in maintaining the east/west coast artists’ 1 of a kind chemistry & taking it a step further in refusing to have any guests joining them.

Score: 4/5

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Darby O’Trill – “GATOR LaKE” review

Key Largo, Florida emcee Darby O’Trill dropping his 8th studio LP in preparation for Hallowicked. A close collaborator of Chapter 17/Psychopathic Records in-house producer Devereaux, their debut on wax Piecemeal received critical acclaim during the COVID-19 pandemic & signed Lyrikal Snuff Productionz & fulfilled it over 3 years ago with Gully, which is a modern day wicked shit classic. Amputate was a solid prelude to The Tomb, the latter was even better. Darby’s official C17 debut Creek became his best since Gully as did GARDeN, coming off WIL(low) to take us to GATOR LaKE.

“The gator lake visitor center” produced by none other than Devereaux cooks up this murky trap instrumental to kick things off creeping through the fog with the spirits of the swamp accompanying him whereas “Mask made from a lampshade” talks about this voice in his head getting louder over a cold trap beat from Shaggytheairhead. “I played baseball when I was a jit” goes for a trap metal vibe instrumentally talking about being the nuisance he is leading into “Irregular Puzzle Pieces” featuring Shaggytheairhead throwing it back to that 10 Bandz freshness.

As for “Doctor my dick has teeth & chewed a hole in my leg”, we have Darby over a Mobb-like beat throughout the 3rd single talking about nobody being safe from this toxic waste just before “Jezt n death” featuring Klokwerk E talks about heckles & macabre considering they’re laughing at their victims bleeding out to their deaths. “Flannel full of bullet holes” continues from there advising that it’s good to speak the unspoken sometimes while “Ranidaphobia” describes about the fear of frogs.

“Bologna flavored bong water” hits the midway point of GATOR LaKE with the 4th & final single talking about living like a scrub until the end & having no regrets while “I like your hands, may I have them?” professes that he’s fed up with this endless loneliness he’s been feeling. The lead single “Shitstorm” featuring Ouija Macc cautions not to tell them they’ll be fine when they know they won’t while the 2nd single “The trialz & tribulationz ov apeboy” talking about splitting skulls of those who fuck around.

The trap metal influences make their way back around for “Making Out with the Floor Again” asking whether or not one would be pissed off or cherish him more if anyone found him like that but after “Stop smiling you look stupid” airs his grievances towards someone he knows who he wishes the absolute worst upon over a shimmery instrumental, “Smell ya later loser!” runs it back with Devereaux talking about being near death despite looking zombified.

“Meet me at GATOR LaKE” winds down the last few moments of the album turning up the trap metal elements to find blood soaked all over his clothes once again & considering his blade to be his closest friend while the final song “The Proto cat bluez” preceding “The interview” out skit finishes GATOR LaKE at it’s core retaining the trap metal influences for a 3 minute outro talking about how the sun doesn’t shine even when the day of our demise comes around.

Anyone who’s already followed the CReEK through the GARDeN & past the WIL(low) will eventually find themselves at GATOR LaKE, which has been said to be the finest Darby O’Trill has ever sounded in his entire career & I couldn’t agree more with that sentiment as someone who’s been paying attention to him since the pandemic. The production almost entirely handled by Devereaux strengthens Darby’s distinct mix of trap metal & the wicked shit cautioning those who dares to enter the waters won’t ever leave.

Score: 4.5/5

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Ghostemane – “AM:FM” review

Ghostemane is a 35 year old rapper, singer/songwriter, musician & producer from West Palm Beach, Florida who’s dropped 8 full-lengths as well as a handful of mixtapes & extended plays under his belt since 2010 including N / O / I / S / E & it’s 2020 predecessor Anti-Icon despite coming up as the guitarist for a hardcore punk band called Nemesis. He has since spent the remainder of the ongoing decade up until this point taking a hiatus from making music, returning for his 9th studio LP in time for Halloween next weekend.

“Alive!” kicks things off what an intro that’s primarily compositional other than a horribly underwritten verse & chorus whereas “Deus Ex Machina” instrumentally takes more of an industrial trap route talking about feeling like a false hope. “Miazma” lyrically treads the horrorcore waters admitting he’s on the verge of losing his shit whilst turning up the bass just before “0 Day” produced by Kenny Beats blends nu metal, rap metal, trap metal & industrial hip hop to talk about now being the time to do something violent.

The self-produced “Bucketlist” combines trap, trap metal & hyphy lashing out at everyone who has a fucked up perception of him leading into “Jupiter” reaching the midway point running it back with Kenny to talk about looking for a place that he can finally call home. “Hyperdrive” begins the 2nd half dabbling with electronic dance music for a few minutes sampling Jovi Whitney during the drop while “Mean Girls” wants to know why those type of women love him the most.

“Cyberia” incorporates some jungle influences for Ghoste to talk about feeling like his own worst enemy while “Get Gone” asks if one will leave him alone if he gives them what they want. “NSFW” includes a hilarious jab at MGK when he says “I’m never gonna let go of thе machine gun & no I don’t mean the poser with the name Machine Gun” but once “Noose Knot” wickedly talks about being diseased, “A Fire in the Skye” ends AM:FM hoping his wife Skye Whitney realizes she meant everything to him.

Becoming a fan of his when N / O / I / S / E came out & performing at the 20th annual Gathering of the Juggalos prior to the 2020 COVID-19 pandemic, the Blackmage Records founder’s comeback following a lengthy hiatus with what might be the most experimental thing Ghostemane has ever made. His own production alongside each of Kenny Beats’ contributions explore beyond trap metal in favor of nu metal, rap metal, industrial hip hop, trap, hyphy, jerk & EDM to deliver a bloodthirsty half hour’s worth of lyrical performances.

Score: 3.5/5

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Yung Miami – “Watch Dis!” review

Yung Miami is a 32 year old rapper & songwriter from Miami, Florida who broke out as 1/2 of the City Girls. They would drop a mixtape & 3 full-lengths under Quality Control Music prior to their disbandment with JT becoming the first of the duo to go solo in 2024 when the City Cinderella mixtape preluding Club Cheetah came out although it left audiences divided. However, I was more interested in Miami’s own solo debut coming out through Uptown Records & Republic Records especially since she was always the nicest of the 2.

“Fuck Shit Up” wasn’t exactly the strongest note to open up on asking whether or not all these other bitches got the memo whereas “Fuck You” produced by London on da Track throws up middle fingers declaring she’s still the same as she was when she was in the gutter. The 3rd & final single “2008” throws it back to when Jeezy was a dominant force in the mixtape scene giving the mood motivation while “Spend Dat” featuring Davido, Kodak Black, Lil Baby, Shenseea & Vybz Kartel on the remix unites for a strip club anthem.

G Herbo & Quavo both appear during “T.M.T.C. (Take Me To Chanel)” so they can talk about their desires of shopping at the French luxury fashion house leading into Miami suggesting to “Blink Twice” if one loves being with here at the club. After an interlude, “Put Together” brings some synthesizers in the picture to talk about staying well dressed from the top of her head to her feet leading into “Dade County” featuring Rick Ross, Trick Daddy & Trina repping their home turf.

After another interlude, “Freak Like Me” continues the 2nd half of Watch Dis! getting raunchy over a Honorable C.N.O.T.E. instrumental while “Just Might Go” featuring Travis Scott chops up a sample to make way for both of them talking about alcohol. “Old Time Sake” embraces a bit of a pop rap vibe confronting a man who she’s well aware of him missing her while “Letter to My Mwah” following the last interlude talks about treating her pussy better.

“Baby” wraps up the last leg of the LP with a pop rap cut reminiscent of T-Pain’s earlier output turning up the horniness topically while “Ride for You” featuring Summer Walker combines trap soul & pop rap to talk about hoping their partners stay by their sides. “Chasing Sunsets” explains how she doesn’t stress about anything because of her boss lifestyle over an OG Parker beat & “Dear JT” finishes the album sampling “Missing You” by Diana Ross for an open letter to her former partner-in-rhyme.

Next weekend will already be half a decade since Yung Miami put out her solo debut single “Rap Freaks” to divisive reception & regardless of there being some moments where Watch Dis!’s production can be uninteresting at times similarly to City Cinderella’s, I’d most likely revisit Watch Dis! more of the 2 due to the way she takes it back to her dirty south origins along with her dedicating it to those who’ve ever counted her out & confidently clapping back at everyone who claimed she’s failed at everything in life.

Score: 3.5/5

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