Jack Harlow – “Sweet Action II” review

Here we have the 3rd extended play from Louisville, Kentucky rapper, singer/songwriter, producer & actor Jack Harlow. Breaking through when the pandemic started off the single “What’s Poppin’?”, this resulted in DJ Drama & Don Cannon signing him to their Atlantic Recordsimprint Generation Now Entertainment as well as them putting out a mediocre full-length debut with That’s What They All Say that same winter & who could forget the arduous listen of a sophomore effort Come Home the Kids Miss You in 2023. Coming off Jackman. & Monica, he’s dropping off a sequel to Sweet Action.

“Signora” begins the EP sampling “Ideally Yours” by Ideal responding to a woman wondering why he’s acting so laid back whereas “Too Soon” shifts towards an acoustic trap vibe instrumentally to pose the question of whether or not it’s untimely for him to fuck another bitch. “She Gets Me” confesses that he’s been seeing another woman & feeling like she understands him better than his old chick did while “610 Magnolia” talks about wanting to show her who he really is.

The song “Hold Back” produced by Rogét Chahayed might have my favorite beat here because of the way he samples “Hold N’ Back” by Marques Houston even if bars like “I can tell you must think I just wanna paint your face, Cirque du Soleil” feel grossly tacky while “Pressure” flips “ego talkin’” by Saint Harison acknowledges his imperfections. “Move On” ruins “That Was Then” by Lalah Hathaway to end Sweet Action II wining over an ex-girlfriend.

It was pretty great seeing Jack Harlow getting clowned for the neo-soul direction Monica went for when he dropped it back in March & regardless of the pop rap elements from the original Sweet Action being retained, the trap influences being swapped out in favor of Monica’s neo-soul sound & contemporary R&B makes Sweet Action II feel like a collection of outtakes that were originally meant for his latest album whether it’s the obnoxious usage of R&B samples or Jack’s corny songwriting.

Score: 1.5/5

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Curren$y – “Off to the Races” review

New Orleans, Louisiana rapper, songwriter & record executive Curren$y dropping his 25th LP a week after its announcement. Starting with No Limit Records in 2002, he would then hop over to Young Money Entertainment & Cash Money Records in 2006 & eventually branched out in 2008 with his own label Jet Life Recordings. The man has since made a name for himself by dropping a handful of projects every single year with my favorites including the Harry Fraud-produced Cigarette Boats, the Alchemist-produced Covert Coup, the prominently Ski Beatz produced Pilot Talk series, The Carrollton Heist, the Lex Luger produced Motivational Speech, the Statik Selektah-produced Gran Turismo & Continuance to name a small handful. Last time I covered Spitta was when he had So So Def Recordings founder Jermaine Dupri produce For Motivational Uses Only & Never Catch Us, heading Off to the Races over a year later.

“Colorblast” opens up with a smooth instrumental talking about having his passport & money on his fast car whereas the luxurious “White Linen Dinner” discusses people having their eye on everybody else’s bag. “The Telethon” featuring Rome Streetz works in an operatic vocal sample to put their foots on muhfuckas’ necks & after “Kamikaze Drive” admits to feeling alive again following the death of his friend, “Night Vision” featuring Wiz Khalifa talks about the the kind of scenery others dream of.

As for “Duffle 2 the Dealership”, we have Spitta discussing making a name for himself through his audio cocaine & the drug war while “Go So Fast” featuring Bruiser Wolf & Fendi P talks about their champagne being colder than the world. “Tightrope” moves on from there trying to take more than the average cut & once “Sound of the Rain” featuring Jazzy details their hunger for success, “Factory Settings” ends Off to the Races talking about people forgetting shit.

Coming off the Spiral Staircases & Roofless Records for Drop Tops collaborative projects he did with Larry June & Wiz Khalifa respectively, Curren$y runs it back with Harry Fraud to pick up exactly where they left off a year & a half ago flowing over the latter’s sample-heavy production enlisting only a select few guests in joining him to give us the typical stoner/luxury raps we’ve come to know him for clocking at almost a half hour.

Score: 3.5/5

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vax – “Vaxination” review

Brand new sophomore effort from West Palm Beach, Florida rapper/producer vax. Someone who’s gone on to drop 8 extended plays since 2023 after beginning to make music at the age of 12 ranging from New Jazz to Forgive My Sins & Pyramid Scheme, with Is This You? following my personal favorite of the bunch Throne. Coming off #B4BlueDawn & the full-length debut Blue Dawn as well as the Steeze EP & B4VXN, the main course to the latter is finally ready to be served after several delays

“Hold Me Over” opens up with a hypertrap instrumental pleading for his bae to not switch up on him whereas the self-produced “Angel” kinda has some digicore undertones to it asking whether or not this woman can be honest with his love. “Obey” talks about doing whatever the individual he’s addressing wanted him to do without asking any questions while “Mob” lets Hostile handle the sole verse, painting imagery of the gangsta lifestyle.

Meanwhile on “Nation”, we have vax coming through with a 2-parter moonwalking like the late King of Pop Michael Jackson & aiming at heads leading into the rage-inducing “1 4 Ya” talking about getting money like he’s some sorta mad man. “Move Right” leans towards the digicore side of things again explaining that he can’t get up because he’s fried as fuck just before “Drop the Act” sends a clear message directed at people fakin’ the funk.

“Tearin’ Up” featuring Onyx77 kicks off the 2nd half of Vaxination realizing the ones who they were confident of being their soulmates not caring enough while “Correct” talks about having the ability to fuck your bitch by sending her a single text message. “Tajin” flexes how hot he is & his love for all bad bitches across the world regardless of skin color but after “Iconic” boasts his legendary status, “Take My Number” asks if this girl would be ok with having his digits.

Cochise saves my favorite guest appearance for last during “Eastside” representing the alligator state they call home while “Turn Off the World” interpolates “New Wave” by Sam Gellaitry when the hook comes around, yearning to cancel out everyone near his vicinity. “Luck” confesses the feeling of his fortune diminishing when it seems like he stumbled across a pot of gold & “End of the Day” sends off the album talking about walking away with his heart wrapped around a noose.

The averageness of B4VXN & Steeze sparked some concerns heading into Vaxination, but thankfully I’d put it above both of those EPs & behind Blue Dawn to claim the bragging rights of becoming my 2nd favorite thing vax has done all year. The production predominantly balances digicore & rage other than some secondary influences of pop rap although I feel like it’s not as cohesive as his debut was back in April.

Score: 3.5/5

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SOB x RBE – “From the Land” review

Vallejo, California trio SOB x RBE consisting of Slimmy B, Yhung T.O. & DaBoii reuniting for their 4th studio LP. Catching wind of them in 2018 when “Paramedic!” became a personal highlight for me on the soundtrack for the near perfect Marvel film Black Panther, they quickly followed this up by releasing their first 2 albums with EMPIRE Distribution entitled GANGIN’ & GANGIN’ 2 even if both of them were incredibly average. Their 3rd extended play Family Not a Groupproduced by Hit-Boy under Def Jam Recordings to this day stands as my favorite thing they’ve done, reuniting 7 years after Strictly Only Brothers to drop From the Land.

The intro begins the group’s comeback talking about muhfuckas still being broke as they were when they initially split up whereas the lead single “10 Summers” reminds us exactly how long they’ve been doing this shit for. The title track talks about uppin’ B’s & throwin’ 3’s in what they call the City of Opportunity prior to the 3rd & final single “Someone” admitting to getting caught up in the field at night totin’ their rifles & looking for their enemies when searching for their soulmates.

“SOB Only” asks who can they call whenever either of them are alone & need somebody, fuckin’ with each other because the rest are bitches leading into “Her Loss” featuring Lil Bean & Lil Yee sampling “F.A.S. (Fine As Shit)” by Shelby Ruger talking about turning other hoes up. “Rock n Roll” instrumentally goes for a Mobb vibe keeping a Glock on them when they make money until “Honeypack” flips “Stay with Me” by DeBarge asking women to be theirs.

As for “Need It”, we have all 3 of them continuing the romantic themes incorporating some finger snaps & an airy backdrop accompanying them while “Clockwork” talks about showing muhfuckas how their Glocks work. “Red Eye” tropically assuring their partners that they don’t have to be shy & after “Birthday” talks about the type of women they need when they make their trip around the sun, the closer “What Came With It” ends From the Land breaking down everything that comes with their territory.

Many including myself didn’t think this day would ever come but now that it has, From the Land ranks amongst my biggest disappointments of 2026 & could go down as the weakest album in SOB x RBE’s entire discography. I’m very happy to hear DaBoii alongside Slimmy B & Yhung T.O. getting back together after focusing on their solo careers for the past 7 years although the production is nowhere near as exciting as Family Not a Group’s was.

Score: 2/5

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Ty Farris – “No Cosign, Just Cocaine 6: The Devil’s Dandruff” review

Here we have the latest mixtape & 12th overall from Detroit, Michigan veteran Ty Farris. Emerging under the name T-Flame being featuring on a lot of projects throughout the mid-2000’s until the very end of the decade, it was at that point where he started to put out solo stuff at a prolific rate by dropping 11 mixtapes, all 11 of his previous albums & 4 EPs. Standouts include the Room 39 duology & the No Cosign Just Cocaine series, the Machacha-produced Malice at the Palace & the Graymatter produced Sounds That Never Left My Soul. Coming off Enigma with an Attitude as well as Timing of a Tarantula & the Apollo Brown-produced Run Toward the Monster, the Bars Over B.S. Records founder’s epiloguing the NCJC series with The Devil’s Dandruff.

After the “I’m Concerned Cuz It’s Nothing Wrong” intro, the opener “So Many Nights” recalls the times he avoided death in prison over a drumless piano loop whereas “Vainglorious” produced by Trox instrumentally goes for a trap vibe talking about his struggling leading him to glory. “Braid & Naps” shifts towards a boom bap direction flexing that he’s been trained to kill all snakes & snitches just before “I’ve Done You Wrong” talks about taking his time whenever he writes over a Futurewave beat.

“Paranoid by Design” admits to having deliberately irrational anxiousness over a Animoss instrumental while “Cold Shoulders” featuring Crimeapple eerily talks about it being them against the entire world. “Stop the Search” dustily explains that it’s either death or jail where he comes from & being a product of his turf while “The Fix” soulfully talks about getting paid after paving his own lane in addition to making it clear that his recipe at the same as everyone else’s.

Sebb Bash gets behind the boards during “Shook Sinatra’s Hand” explaining that a guy who doesn’t have a code of any sorts shouldn’t consider himself a man while “No Trepidation” talks about never running from smoke of any kind & assuring himself he won’t ever go back to not having any money. “Focus on the Profits” reunites with Apollo Brown discusses being built for the battle & conditioned for the way because he grew up in poverty while “Generational Run” featuring BLUEHILLBILL brings it hardcore together over more sampling techniques.

“What They Fiend’n Fo?” kinda has a bluesier flare to the beat talking about how they don’t make ‘em like him anymore while the bloodcurdling “Cleanse My Soul” speaks of being in the streets so much to the point where he considers it home. “Mental Therapy” talks about diving deep in his mind only for him to recover another page of his pain & “Searching for the Truth” sends off No Cosign Just Cocaine 6: The Devil’s Dandruff promising he ain’t going anywhere.

It’s already been a few years since No Cosign Just Cocaine 5: The Final Sniff ended the saga that changed Ty Farris’ entire life, so I completely understand why he took it back to 6 Mile & Davison where it all began 1 last time ahead of Run Toward the Monster’s anniversary next weekend. Even if my personal favorite installment of the saga would be the 4th one, I commend him for making sure this hour-long reflection of a man who got it out the mud without cutting any corners would be worth every penny.

Score: 3.5/5

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Statik Selektah – “Expensive Taste” review

This is the 11th studio LP from Boston, Massachusetts producer, DJ & radio personality Statik Selektah. Widely considered to be one of the most consistent & hard-working producers in all of hip hop for over a decade now whether it be his output as part of the producer/MC duo 1982 alongside fellow Boston native Termanology or entirely producing projects for the likes of Action Bronson & Paul Wall, even his 10 solo albums contain some outstanding material of their own ranging from Extended Play to #WhatGoesAround… & more recently Round Trip. He originally announced Expensive Taste to come out in January under his own label Showoff Records in tandem with Mass Appeal Records, but has finally dropped it 10 months later.

Ab-Soul, AZ, Boldy James & Bruiser Wolf all unite for the jazzy intro “Rose Tinted” talking about feeling like Hell despite Heaven being around the corner whereas “Generational” by Killer Mike, Styles P & 1982 kinda goes for a rap rock vibe so they can bring it hardcore. “Eye Shine” by Busta Rhymes, Nina Sky & Smif-n-Wessun brings everyone together to talk about glowing up prior to the 2nd single “Champagne Wishes” by Ab-Soul, Freddie Gibbs & Raekwon discussing their caviar dreams.

“No Time Soon” by 2 Chainz gives us another taste of what we can expect outta his upcoming 8th album Playaz Only Live Once arriving next month while the symphonic boom bap crossover “Growing Pains” by Joey Bada$$ talks about having no time to get caught up in the past. “Kings County” by M.O.P. & NEMS finds the trio aggressively representing the borough of Brooklyn just before “365” by Kai Ca$h, Paul Wall & Smoke DZA soulfully talks about what’s changed for them in the past year.

The Cool Kids, Jay Worthy & Rome Streetz all link up during “Real Player Baby” throwing jabs at those who can’t freestyle for shit while “Globetrotters” by Logic & Lørd Skø talks about their status traveling around the world over a soulful boom bap instrumental. “Good Vino” by Crimeapple & Monday Night kicks off the 2nd half detailing each of their luxurious preferences while “Choose Life” by G-Eazy talks knowing he had to flourish & grow.

“Is That You!” by Bruiser Wolf, Chris Crack & Wiki continues from there dissing the carbon copies of them for not being as fly as either of them while “Crown of Thorns” by Coyote & Dirty Sanchez ruggedly talks about people wanting their views now that they’ve climbed to the top. “Northside” by Northside Lord gives the Queens up-&-comer a couple minutes to show the world what he’s got over a piano-inflicted boom bap beat while “Tooth 4 Tooth” by Coyote, JFK, Lørd Skø, REKS, S.T.R.E.E.T. & UFO Fev references WWE Hall of Famer, former 3-time WWE Champion, 11-time WWE tag team champion, the inaugural WWE Hardcore Champion, CWA World Tag Team Champion & TNA World Champion Mick Foley.

Winding down the last leg of Expensive Taste, the song “I Tried” by Brother Tom Sos & Kota the Friend makes it clear how they’d rather sell dope in the streets instead of selling out while “Ain’t So Far” by Cordae jazzily talks about being up at 3am counting money & shooting shit in his backyard. “The Louvre” by Joey Bada$$, Rome Streetz & Westside Gunn speaks of flying their lovers out to Paris to hit the titular museum while “The Red Carpet” by Pharoahe Monch preceding the Hannibal Buress outro “Where Did the Shroom Guy Go?” ends the album connecting to what the culture says.

Thematically built around the idea where expensiveness doesn’t always deal in cost the quality of life you live, Statik Selektah makes up for the 10 month delay Expensive Taste suffered when the Legend Has It series was wrapping up with a full-length that feels as equally enjoyable as the one he put out a few years earlier. His soulful boom bap production gives room for every guest to provide their own perspective on the realities that come with success & ambition regardless of there being a few performers I could’ve done without.

Score: 4/5

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Lil Baby – “Fresh” review

Atlanta, Georgia rapper & CBFW Records founder Lil Baby dropping his 6th LP almost 2 years after its original announcement. Rising to stardom in 2018 off his full-length debut Harder Than Ever, his profile would gradually increase from there by following up with a collab project with Gunna entitled Drip Harder & Street Gossip. His sophomore effort My Turn as well as It’s Only Me & W.H.A.M. (Who Hard As Me?) all left people divided, coming off The Leak$’ poor reception to stay Fresh.

“Top Uh It” incorporates a cheap trap instrumental with some bells talking about having 1 foot deep in the streets & 1 foot out of it whereas “Mr. Do Something” produced by Taurus experiments with the Detroit sound to discuss being the type of person who takes action. “Burnt Shit” continues from there flexing his wealth over a Wheezy beat leading into “Be the One” talking about the feeling he always had of being as popular as he is & getting everything he’s dreamed of.

30 Roc brings in the horns during “Ain’t Goin’” demanding an explanation as to why people are getting up in his business just before “From the Back” instrumentally swaps out the brass in favor of pianos thanks to Hitmaka talking about being in love with this woman who he needs to be around when he’s drunk. “All My Partnas” featuring Rylo Rodriguez & Young Thug links up over a London on da Track beat airing out a hoe for fuckin’ their homies while “My Side” talks about puttin’ it down for his parts of the ATL.

“L.o.t.P. (Life of the Party)” made for an underwhelming kickoff to the 2nd half looking to turn up every day for a month straight while “Dead Fresh” talks about his upscale taste in fashion over a cloudy trap instrumental from Pharrell. “Your Fault” expresses hope of this chick seeing the changes he’s been trying to make interpolating “Blame U” by Odeal while “All of Us” runs it back with Wheezy to talk about him puttin’ on for everyone.

Rylo Rodriguez appears again for “In Your Head” explaining the reason their bitches are holding themselves back while “Like a Brat” talks about wanting to spoil his girl. “Televised” spends a couple minutes getting in his gangsta rap bag lyrically calling for the deaths of those who don’t want him going hard to be broadcasted & after “Rareform” talks about feeling great when the money comes, “Keep Goin’” ends the album advising not to stop over a synth-driven Metro Boomin’ beat.

Although I do believe Lil Baby made some improvements with Fresh & would place it above The Leak$, it’s not by a very wide margin. I appreciate him stepping things up within the production department considering nearly half of it was a considerable step up from both that grails tape he gave us 11 months ago & even It’s Only Me, but the choruses leave a lot to be desired & he doesn’t have that same hunger he did when he initially blew up.

Score: 2/5

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Skepta – “The Fork & Knife” review

This is the 6th studio LP albeit Epic Records debut from Tottenham, London, England, United Kingdom rapper, songwriter & producer Skepta. A co-founder the Boy Better Know collective, a lot of people in the state including myself didn’t hop on board with him until a decade ago when he dropped his 4th album Konnichiwa to critical acclaim. This was followed up a couple years back with both Ignorance is Bliss & All In being welcomed to moderate reception, coming off the Fred again..-produced Skepta .. Fred extended play to drop The Fork & Knife.

The self-produced “Secrets of Patriarchy” kicks things off talking about the weight men carry on their shoulders when they’re already providing for their families whereas “Outside” featuring Novelist finds the pair advising listeners to keep their eyes on those in the background. “Cold Shower” featuring Project Pat goes for a Memphis vibe talking about falling in love with the power while “Currency” produced by F1LTHY of Working on Dying discusses turning his pain into cash.

“Pandora’s Box” takes a more conscious approach to his songwriting experimenting with both trip hop & chillwave leading into “Revenge” sampling “That’s Not Me” so he can talk about losing his way around the time his sophomore effort Microphone Champion was being recorded. “Magic” featuring Finessekid finds the pair telling us exactly where they come from just before “Gas Me Up (Diligent)” fuses trap, cloud rap & pluggnb thanks to Cardo talking about needing a card that doesn’t decline since every day’s a party.

Meanwhile on “Melody”, we have Skepta continuing the 2nd half of the album asking this woman where he’s been all his life while “Aloe Vera” treads the Afrobeats waters thanks to Lex Luger talking about this woman’s skin being softer than the natural supplement itself. “Chippie”featuring Aya Nakamura links up for a subpar French/English zouk duet breaking down a secretive type of romance while “Broken Hearts” featuring Central C responds to those sayin’ they got game when they’re not playing it properly.

“Innocent Smile” blends breakstep, grime, britcore & big beat to make some commentary regarding anti-immigration & political deception while “Belly” featuring Bossman Birdie, Frisco, Jme, Kibo, Kruz Leone, Mayhem NODB & Queenie finishes The Fork & Knife with a 9 minute grime posse cut. However, he’s bringing together artists who represent that style past & present with only a couple of his BBK providing verses & everyone interpolating some of their own previous material for 16 bars each.

Exploring his immigrant identity & countering his early bombast with the wisdom of experience, The Fork & Knife bares it’s name in honor of one of Skepta’s mother’s favorite sayings reckoning with his position as one of the most dominant forces in the grime scene & the fact he’s the British son of Nigerian immigrants in a post-Brexit cultural landscape. The trap & UK drill undertones that be heard throughout the production reveals a different side to him in the midst of him delivering the introspective subject matter.

Score: 3.5/5

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Shenseea – “Catalyst” review

Mandeville, Manchester, Jamaican singer/songwriter & deejay Shenseea back for a brand new extended play of material. Putting out a handful of singles since 2015 like the Vybz Kartel-assisted “Loodi” or “Run Run”, she then signed to Interscope Records prior to the pandemic & got her biggest push yet after appearing on the “Ok Ok” remix off Ye formerly known as Kanye West’s final Def Jam album DONDA. Her own debut Alpha under Interscope Records further solidified Shenyeng as dancehall’s most exciting new artist & looks to make up for the sophomore effort Never Gets Late Here’s lukewarm reception to drop Catalyst in celebration of her new contract with Columbia Records.

The 2nd & final single “Vulnerability” kicks things off with this dancehall intro seeking susceptibility whereas “Playtime” featuring Asake instrumentally embraces a more atmospheric vibe so they can sing about a situationship. “Danger” moves on from there telling this guy to push up on her enough to bring the wildness out of her prior to “Garden” singing about turning off the lights before she & her lover get down to business despite the usage of AI ruining it.

“Body Language” produced by London on da Track might be my favorite here from the beat to the lyrics cautioning things are on the verge of getting freakier while “Private” featuring Loe Shimmy sings & raps about staying up conversing online & layin’ up with each other in person. “2 Face Gyal” airs out a woman who she feels is envious towards her & the lead single “Talk to Me Nuh” featuring Vybz Kartel wraps up Catalyst reuniting with the icon who believed in her from the start.

The divisive reception Never Get Late Here got makes more sense to me now that it’s been confirmed that it was Shenseea’s last offering under Interscope, but Catalyst celebrates this new era of her career by reminding the world of her place amongst dancehall’s most dominant forces in recent memory & expanding her sound with secondary influences of R&B & Afrobeats now that her new label has granted her more freedom on the creative aspect of things.

Score: 3.5/5

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Ciarán – “Róisín” review

Ciarán is a 33 year old rapper, singer/songwriter & producer from Belfast, Northern Ireland, United Kingdom who originally formed a shoegaze outfit called NoWiFiii alongside HK as well as Romil Hemnani & Kevin Abstract. They would disband following their only extended play Memorial Day in 2015 & everyone would become members of the now defunct BROCKHAMPTON collective, signing with the renown London indie label Ninja Tune to make his long-awaited solo debut.

The self-produced “Crown” works in some bare orchestral arrangements singing about having this heavy burden whereas “Loom” hooks up a guitar instrumental assuring his partner that he won’t ever leave if they call him. The lead single “K-Bar” prior to the “Green Ave” interlude blends bedroom pop, alternative R&B, neo-soul, neo-psychedelia, indietronica & minimal wave expressing his desire for a youthful connection just before “Houston”combines neo-soul, psychedelic soul, bedroom pop, smooth soul & neo-psychedelia for an ode to the 713

“Chevy” brings a more nocturnal atmosphere to the table depicting a heavy type of love prior to the 124 second “Claddagh” letting Embaci handle the sole verse, singing about emotional attachment & uncertainty using the traditional Irish ring as a metaphor. “White Leather” advises to stay back if your palm gets sweaty on the weapon while the 2-parter “Galvarino” fuses neo-psychedelia, bedroom pop, indie rock, slacker rock, neo-soul, trip hop, alt-pop, indie folk & glitch pop takes inspiration from the Mapuche warrior who had his hands cut off. 

The 4th & final single “RED 99” after the “Bashment” interlude mixes alternative R&B, singer/songwriter, bedroom pop, indie folk, slowcore, neo-psychedelia & neo-soul hoping for this person allow Ciarán to find the words to say for the rest of their life while “Dummy” sings about how he’ll keep lovin’ ’til it’s all l’ve got. The closing track “Waterslide” finishes the artist formerly known as bearface.’s debut with some bagpipes & a somewhat repetitive lyrical structure.

Róisín has been a long time coming for anyone who used to enjoy Ciarán’s outros almost a decade earlier when BROCKHAMPTON blew up off the SATURATION trilogy & it definitely ranks amongst the most versatile debuts I’ve heard come out of that camp in some time along with one of the eclectic listening experiences I’ve had in 2026. His bedroom pop, alternative R&B, neo-soul, neo-psychedelia, indietronica, minimal wave, indie rock, slacker rock, trip hop, psychedelic soul, smooth soul, alt-pop, indie folk, glitch pop, singer/songwriter, slowcore & hypnagogic pop production testifies to the artistic freedom he’s achieved since BH disbanded as he honors his Irish roots.

Score: 4.5/5

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