Jake Xerxes Fussell – “The Old Beloved Path” review

Jake Xerxes Fussell is a 44 year old singer/songwriter from Columbus, Georgia who made his eponymous full-length debut over a decade. He would go onto follow it up with What in the Natural as well as Out of Sight and Good & Green Again preceding him signing to Fat Possum Records. His debut for the label When I Called arrived only a couple years & coming off the soundtrack to Rebuilding last fall, he’s making a secular comeback for his 6th studio LP.

“#1” has producer Ben Whiteley playing bass & organ as well as Wayne Horvitz on harmonica for a compositional intro whereas “Rock Island Line” embraces an Americana vibe covering an old traditional folk standard. “Every Time I Go to Town” acoustically sings about what occurs whenever he revisits his neck of the woods but after “Rosin Some” declaring today to be the day to chew on some resinous pine tree material, “Boney” hits us with another rendition of a traditional work song.

We have Jake pairing Ben & Dominic Billett for synthesizer duties so he can cover the British folk standard “Early, Early in the Spring” to further commence the 2nd half of The Old Beloved Path while “Boll Weevil” gives us his own take on a track Lead Belly recorded nearly a century ago including parts where Isa Burke’s playing a fiddle & mandolin. “Sandy Land” covers a traditional folk song dating back to the 19th century & “Of All the Beast-est in the World” sends it all off with this acoustic 114 second closer singing about how he’d rather be a painter.

Creatively stemming from Jake Xerxes Fussell’s perception of traditional music becoming increasingly intense as he gets older, The Old Beloved Pathachieves the goal Ben Whiteley had set out in the studio documenting a handful of musicians providing live instrumentation for a half hour’s worth of folk music reimagined that further. If anyone else has heard the Minyo Crusaders’ 3rd album From Japan with Love earlier this summer, you’re probably gonna like this as much since it additionally captures his growth as an artist rather than sounding vaguely similar to those who came before him.

Score: 3.5/5

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Anthrax – “Cursum Perficio” review

Anthrax is a thrash metal band from Queens, New York consisting of rhythm guitarist Scott Ian, drummer Charlie Benante, bassist Frank Bello, lead guitarist Jon Donais & frontman Joey Belladonna. Making their full-length debut in 1984 with Fistful of Metal under Megaforce Records, the Island Records-backed sophomore effort Spread the Disease & Among the Living would both cement themselves as one of thrash’s Big 4 pioneers. State of Euphoria & Persistence of Time were both solid too although I can’t say the same for their Elektra Records debut Sound of White Noise or Stomp 442 & Volume 8: The Threat is Real. We’ve Come for You All was a tight return to form for them but coming off the superior Worship Music & For All Kings through Megaforce in tandem with Nuclear Blast Records, they’re reuniting for their 12th studio LP.

After the “Persistence of Memory” intro, “The Long Goodbye” opens up with an ode to Charlie’s father battling Alzheimer’s whereas “It’s For the Kids”combines thrash & groove metal so Joey can sing about always sticking to the plan without having to make any improvisations. “Everybody’s Got a Plan”swaps out the thrash elements in favor of a traditional heavy metal sound with a groove metal twist quoting WWE Hall of Famer Mike Tyson while “The Edge of Perfection” masterfully blends heavy metal, groove metal, thrash metal, progressive metal, blackgaze, black metal.

“NYC 93” enjoyably throws it back to the Sound of White Noise Days days which is widely accepted as the best of the 3 offerings to come outta the John Bush-era as someone who personally wasn’t a fan of that point in the band’s career while the title track sings about reaching the end of a journey. “T.O.M.B.” poses the question of what could go wrong after stealing silver from the eyes of a dead man & after the thrashy “Watch It Go” sings about bartering evil as necessary by any means, “My Victory” concludes Cursum Perficiopondering if one can win the hearts & minds with or without them.

There were some concerns whether or not Anthrax was gonna hang it up after Cursum Perficio until Charlie Benante confirmed that wasn’t the case but nevertheless, I can confidently place this decade-long comeback above Worship to hold the bragging rights of being the finest material they’ve made this century. They threw out a bunch of old tunes they’ve already had since at least 2023 & made some new ones inspired by thrash metal, groove metal, heavy metal, progressive metal, blackgaze & black metal documenting their entire journey to stardom.

Score: 4/5

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Beck – “Ride Lonesome” review

Beck is a 56 year old musician, singer/songwriter & producer from Los Angeles, California who released his full-length studio debut Golden Feelings & Stereopathetic Soulmanure independently until signing to DGC Records for his most celebrated opus Mellow Gold preceding 1 Foot in the Grave. Odelay, Mutations, Midnite Vultures, the Geffen Records-backed Sea Change, his Interscope Records debut Guero, The Information & the Danger Mouse-produced Modern Guilt were all equally praised although his ongoing Capitol Records tenure has been hit or miss. Coming off Morning Phase as well as Colors & the Pharrell-produced ハイパースペース, the Fonograf Records founder’s back for a self-produced 15th studio LP.

The title track combines singer/songwriter, contemporary folk, Americana & alt-country for a melancholic take on loneliness whereas “Run Away” pleads for this individual not to leave, assuring there won’t be anything left to say whenever the apocalypse comes. “In the Night” explores chamber folk, singer/songwriter, art pop, Americana, chamber pop & folk rock so he can sing about lost love while “Failed Words” yearns to turn the world back to be with this individual 1 last time.

“Disappearing Act” blends singer/songwriter, chamber folk & art pop for the 3rd & final single tackling the unknown just before “For Your Love” kicks off the 2nd half of the album incorporating some strings to sing about wandering ruins only because of the affection Beck has for this person waiting down in the lowlands. “Slow Canyon” acoustically continues from there yearning to meet his lover inside a hurricane while “It Ends Right Here” sings about putting a stop to the search for this person he’s addressing.

Winding down the last leg of Ride Lonesome, the song “Falling Through My Hands” gently describes this lover who Beck met at a point in his life where he felt like he was sinking considering her a martyr of the battle while the piano-driven “If You Don’t Know What Love Is” sings about not knowing anything at all in response to the idea of not understanding the concept of love itself. The closer “Beyond the Light” spends the last 5 & a half minutes taking inspiration from Americana again asking if his partner remembers the dying of the light when the sun set on their love.

Some people didn’t think Beck would make anything as great as Modern Guilt ever again considering the mixed reception of his output in the last 2 decades, but he finally did it with Ride Lonesome. His production ditches the synthpop, alt-pop, dream pop, neo-psychedelia & electropop experimentations of it’s predecessor in favor of embracing the sounds of alt-country, singer/songwriter, art pop, chamber folk, contemporary folk, Americana, chamber pop & folk rock reminiscent of Morning Phase & Sea Change’s rich atmospherics for a reflective return.

Score: 4.5/5

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Miley Cyrus – “Bass Persuades” review

This is the 10th studio LP from Franklin, Tennessee singer/songwriter, actress & director Miley Cyrus. Breaking out as the older sister of Noah Cyrus & the 2nd eldest daughter of Billy Ray Cyrus, she achieved greater success as the titular character on the The Walt Disney Company-owned Disney Channel teen sitcom Hannah Montana preceding her first 3 LPs Meet Miley Cyrus alongside Breakout & Can’t Be Tamed under Hollywood Records were equally met with mixed or negative reception. Same goes with The Time of Our Lives. Her debut for RCA Records during my junior year of high school Bangerz was when her music started to improve since I prefer songs like “#GetItRight” produced by The Neptunes over it’s biggest hit “Wrecking Ball”. Miley Cyrus & Her Dead Petz became a polarizing take on neo-psychedelia psychic pop even with The Flaming Lips’ involvement, Younger Now went for a mid country pop direction aside from a DJ Premier remix of the title track, She’s Coming missed the landing with R&B & electropop and Plastic Hearts was a decent way to fulfill her RCA contract following her divorce from Liam Hemsworth of the mid A24 Films thriller Cut Bank. Moving over to Columbia Records, her debut for them Endless Summer Vacation once again divided public opinion. Coming off the widely celebrated Something Beautiful, she’s signing to Atlantic Records for Bass Persuades.

The title track combines electropop, dance-pop electroclash, electro house & synthpop singing about putting our phones down & getting lost in the music whereas “Different Religion” featuring Model/Actriz teams up for a pop rock duet praying to a new God together. “Let’s Get Married” acknowledges her engagement to Maxx Morando last winter carrying over the pop rock vibes instrumentally & after “Orbit” sings about being swept off her feet around him, the dance-pop cut Aftermath” sends a clear message to Liam Hemsworth that she was never his.

“Redlights” further embraces a dance-pop style singing about fearing nothing & going where ever Maxx does while “Neon Signs” featuring Andrew Wyatt suggests they could keep each other company regardless of not being each other’s specific type treading the pop rock waters once more. “Innocent Ways” makes a public confession regarding her being better to her sister Noah following their reconciliation merely days before Dolly Parton’s passing & “Snow” atmospherically wraps up Bass Persuades standing at the edge of eternity falling similarly to snowflakes itself.

Moving past the themes of rising above all the trauma in her life, Miley Cyrus’ debut for Atlantic thankfully joins Something Beautiful in becoming some of the strongest output throughout the course of her historic career. Bass Pesuades’ production caters more to pop rock, dance-pop, electropop, dance-pop electroclash, electro house & synthpop as opposed to the predecessor’s vast exploration of countless different sounds reflecting upon her current relationship with Maxx Morando & the love she’s found within herself.

Score: 4.5/5

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Chaka Khan – “Chakzilla” review

Chaka Khan is a 73 year old singer/songwriter from Chicago, Illinois who’s earned herself the title of the Queen of Funk after releasing Chaka, Naughty, Whatcha Gonna Do for Me?, self-titled, I Feel for You, Destiny, ck & The Woman I Am under Warner Records. I don’t even mind the NPG Records-backed Come 2 My House all that much either, considering it quite possibly her finest material since her Warner days. It’s been over 7 & a half years since Island Records dropped Hello Happiness & the iKhan Sounds founder’s going independent for her 13th studio LP.

The title track opens up singing about waiting for this moment her entire life & being a giant on top of a synth-funk, dance-pop & nu disco instrumental whereas “Boogie’s in My Soul” featuring WWE Hall of Famer Snoop Dogg comes through with a nu disco/dance-pop ode to Chaka & Melle Mel’s rendition of “I Feel for You” by the late Prince. “Curious Subject” embraces a synth-funk vibe singing about the friends she’s lost saying she has a lot going on & after “Cool You Down” featuring Sia teams up for a reggae duet regarding men who take their breath away, “I Know You Can” ends the 1st leg declaring herself to be the real one.

“Bring the Party” featuring Lenny Kravitz kicks off the 2nd half of Chakzilla warmly singing about today being all we have just before “Always Love the Challenge” reminds the world she likes it rough & her capability of maintaining her own balance. “Heart of Gold” brings some heavy synthesizers in the picture singing about a partner who she firmly believes is the one for her but once “Now & Forever” pleading for this person to become her man for all eternity, the outro “Dreamy Stuff” sends off Chakzilla

Regardless of the fact a great deal of Chaka Khan’s output for the past 4 decades has mostly been welcomed to lukewarm reception, I can definitely say Chakzilla makes some points in terms of the Rock & Roll Hall of Famer still having a place in today’s musical landscape even after becoming a spiritual guru hosting meditation sessions online becoming the most I’ve enjoyed a full-length from her since the underrated Come 2 My House. Greg Kurstin gives her some of the strongest production she’s had since being signed to the Purple One drawing inspiration from synth-funk, dance-pop, nu disco & reggae advising the world to find our power no matter where we’re at in our lives.

Score: 3.5/5

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Montener the Menace – “Mercurial” review

Croydon, South London, England, United Kingdom emcee, teacher & Hidden Hobby Records founder Montener the Menace back for his 3rd studio LP. Catching wind of him during the COVID-19 pandemic when he released his full-length debut I Have a Hidden Hobby, dude definitely proved himself lyrically even though it was overloaded with features & the production sorta sounded similar to one another. Coming off both Anyone Home? & The Miserable Git Next Door though, Mercurial has finally arrived almost 2 years since it was initially announced.

We get this soulful boom bap instrumental on the intro “Special” delivering this brief freestyle clocking at only a minute whereas “Tin Foil Hat” talks about his paranoia. “Lost & Found” featuring Blade, Farma G, Micall Parknsun & Verb T joins forces for a UK hip hop posse cut but once the chipmunk soul-inspired “Fight for Flight” talks about acute stress response, “The Devil Chose Me” featuring Jadakiss ends the 1st leg cautioning demons are coming.

“I Still Have a Hidden Hobby” kicks off the 2nd half with a sequel to his debut’s title track while “The Game” featuring A-F-R-O & Fashawn talks about only reciting heat when they take the mic. “Falling Down” fuses some kicks & snares with a pitched sample so Montener get in his conscious bag lyrically while “My Thoughts” featuring the late Chino XL & Keith Murray finds themselves wrapped up in their minds, “Dark Book” featuring Declaime & Ruste Juxx produced by DJ Sam Seed takes us where the light doesn’t go.

Hidden Hobby has slowly yet surely been on the verge of becoming one of the biggest underground labels in the entire UK hip hop scene potentially joining the likes of High Focus Records & Blah Records with all these artists/producers Montener the Menace has been signing putting out their own music through his imprint. Mercurial however raises anticipations for it’s sequel made whether it’s dropping in the next few months or 2027 with my favorite thing Montener’s ever made from the soulful boom bap production to the performances that he & the guests deliver.

Score: 4/5

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Kurupt, Masta Killa & Rakim – “The Godbody LP” review

New collaborative full-length between Hawthorne, California by way of Philadelphia, Pennsylvania emcee Kurupt alongside Brooklyn, New York emcee Masta Killa & finally pioneering Long Island emcee/producer Rakim. All 3 of whom are notable in their own rights where it be Rakim being acknowledged as The God MC or Young Gotti & Jamel Irief coming up as members of Tha Dogg Pound & the almighty Wu-Tang Clan respectively. They linked up a couple years ago on the “Be Ill” single & that singlehandedly sparked interest in making The Godbody LP produced by Nick Wiz & Rakim under Holy Toledo Productions & Compound Interest Entertainment a reality.

“Goin’ Down” gets things started hopping over a sample-driven beat talking about wanting no parts with any of these fake ass rappers whereas “DPG Wu-Tang, Wu-Tang DPG” goes for a boom bap vibe instrumentally reminding the world exactly what they do best. “Rock Ya Body” by Tha Dogg Pound, Masta Killa, Ghostface Killah & Raekwon brings all 5 of them together over some horns for a hardcore hip hop skullsmasher leading into “Push the Button” getting on grown man time.

WWE Hall of Famer Snoop Dogg appears during the remix of “Rabbit” whipping up a west coast anthem suited for driving around in a low rider & after the “God Speak” interlude, “A Different Kind” by Rakim talks about The God being a whole breed of his own category. “Is It Love?” treads the symphonic boom bap waters topically demonstrating a more romantic side to them just before “Thelonius” featuring Buckshot, Rim & Trigga goes full rap rock so they talk about being the ones.

“Nights Over Brooklyn” by Masta Killa further embraces the rap rock elements recalling a lot of lives & souls being lost when the 80s crack epidemic happened while “Upstate Introspective” bittersweetly lets the most Wu’s most proficient affiliate Killa Sin spit a brief verse from a prison phone. “Still Ill” featuring Kool G Rap & KRS-One comes through with a worthy “Be Ill” sequel while “9 & Chrome Fiend” by Kurupt properly sends off The Godbody LP heavily sampling “Microphone Fiend”.

The Godbody LP was simultaneously built to showcase the diversity & versatility of Kurupt, Masta Killa & Rakim while simultaneously reshaping a vision the late 2Pac has prior to his death of bridging the east & the west coast for a planned album called 1 Nation that the Outlawz tried to recreate in 2021 preceding their disbandment following Young Noble’s passing. Hopefully this means we’re a step closer to the G.O.Ds Network (REB7RTH) sequel containing lesser guest appearances than its counterpart now that the mission of building upon mutual respect, legacy, uncompromising artistry & coastal unity was a success.

Score: 4/5

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Eastside Ninjas – “The Return of the Lotus” review

This is the sophomore effort from Detroit, Michigan quartet the Eastside Ninjas comprised of Jamie Madrox, Monoxide, Blaze Ya Dead Homie & Anybody Killa. All 4 of whom broke out after the Insane Clown Posse signed them to Psychopathic Records in the late 90s/early 2000s, they would eventually form a Pact of the 4 following the formation of their own labels Majik Ninja Entertainment, Grundy Entertainment & Native World Inc. respectively. A Return of the Lotus was announced this summer & was highly skeptical because 2 of the most important petals being missing.

After the intro, the opening track “Shadow” combines trap & rock so they can spit the wicked shit talking about death still following them whereas “Eradicate” embraces a darker atmosphere instrumentally admitting to being no good. “Wolves” discusses being left to die only for them to survive an encounter with a pack of carnivorous mammals just before “All of My Words” continues from there finding the Ninjas pleading for the universe to lift this curse off their intestines.

“Resilience” reaching the midway point of the LP showing strength of spirit in their characters when being spoken down upon leading into “Mummified” turning the rap rock influences up so they talk about not being free as long as their corpses are hanging on. “Thoughts Lethal” keeps the guitars in tact breaking down their individually fatal minds while the only single “I Kill ‘Em Better” produced by Fritz the Cat & Grady Finch decently talks about the animalistic monster living within every single one of us.

The song “More Like Control” speaks of never giving up regardless of all the nonsense people would like to try sellin’ ‘em while the rap rock-tinged “Down 4 Life” poses the question of whether or not people would still support them after the situation with Majik Ninja’s ties to Psychopathic being severed almost a decade ago & as much as some would like to say yes, this album has caused reasonably more alienation than their 2020 attempt at reviving the Psychopathic Rydas. “Walking Disaster” spends the last 4 minutes talking about things not going their way with those they used to follow.

I really hope neither Twiztid or Drive-By take my criticisms of The Return of the Lotus personally because as someone who’s always stuck by them after leaving Psychopathic over a decade ago, this feels like an Eastside Ninjas sophomore effort that’s more wicked than the Pact of the 4 because it truly isn’t Dark Lotus without ICP hence why it could likely become the worst entry in MNE’s catalog. Outside of excluding Juggalo Championship Wrestling (JCW) Commissioner Violent J & the shortest reigning JCW World Juggalo Heavyweight Champion Shaggy 2 Dope’s crucial roles for obvious reasons or even the tolerable production, it’s simply no different than when D-Loc dropped that 25 to Life solo album under the Kottonmouth Kings name.

Score: 1.5/5

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bleood – “Haunted Hills” review

This is the 5th extended play from Floridian recording artist bleood. Someone who’s debut EP Seal of Memories came out in the fall of 2023 followed by a handful of a-side/b-side singles preceding the Rascal 51 as well as Pain & How Bleood Stole Xmas EPs respectively. Case in point: You Don’t Need Your Skin or the divisively received IDK I Can’t Say. Coming off both the Kill of B Killd & Protagonist EPs however, the wait until his debut album Kill Your Idols continues with Haunted Hills.

“Cryn Innis Coupe” produced by BenjiCold comes out the gate with my favorite song here from the rage beat to the lyrics about not wanting to feel useless whereas “fuk 12” gives off some digicore vibes wondering how many hoes he can fit inside his big body. “yung vocaloid” includes a cool Fortnite reference during the hook & after the bombastic “shellshocked” takes a more repetitive approach in terms of songwriting structuring, the closing track “she wanna” ends the EP detailing a woman who’d like to hop in his wraith.

Apparently we’ll finally get Kill Your Idols next month & regardless of some calling Protagonist the weakest EP in bleood’s discography, the warmer feedback Haunted Hills has been getting in comparison raises any expectations people have had for the LP until this point. The experimental rage, Chicago drill, cloud rap & free car music production still has a lot going for it & I can understand the criticisms surrounding the vocals even if I think he’s a superior performer than 2slimey.

Score: 3.5/5

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WRLD Tour Mafia – “For the Fans” review

New surprise extended play from Detroit trap outfit the WRLD Tour Mafia consisting of Rafa, DaeMoney, WTM Solid, WTM Miles, WTM Re, WTM Amex & WTM Bankroll. Originally forming in 2019, they dropped their debut mixtape World Tour Mafia or Die a couple summers later followed by Tourmania the fall after that & the Mob Ties EP. Tourmania II marked DaeMoney’s final appearance as a member until his initial departure, returning after Blood, Sweat, Tours & C.$.B. (Cross $tate Boys) strictly For the Fans.

“Common Name” by Rafa & WTM Solid starts us off with both of them trading bars with each other whereas “Tour Signs” by DaeMoney, Rafa & WTM Miles produced by the latter alongside LulRose gets back to basics reppin’ the team. “Never Seen B4” by WTM Re & WTM Solid talks about pulling off shit they haven’t done previously but once “Quarter Zip” by Rafa & WTM Amex gets on their gangsta shit together, “Goated” ends the EP with a proper posse cut.

These guys’ last couple of full-lengths each have their fair share of tracks I still revisit even if I wouldn’t rank either of them in the same category as the Tourmania series & For the Fans dethrones the original Mob Ties to become the WRLD Tour Mafia’s greatest EP, putting all the bullshit Rafa had with Slae aside for a celebratory reunion over this tight collection of beats catered to none other than the Detroit sound giving the world only a taste of what we can expect from them hereon out.

Score: 4/5

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