Fuse – “Womanizer” review

Fuse is a 46 year old producer from Roosevelt, Long Island, New York known for being a member of the 808 Mafia. Some may recognize him for producing the Spring Clean series for Curren$y although he’s additionally crossed paths with many notable names from Future & Rick Ross to Royce da 5’9” & Benny the Butcher. He was recently motivated by Southside following his full-length debut Break the Silence last summer to take a jab at rapping & has brought Providence, Rhode Island producer araabMUZIK behind the boards for his own solo debut.

“She Not Mine” hops over an atmospheric boom bap instrumental explaining his preference in women specifically being the hood type whereas “New Bitch” talks about having all sorts of hoes & growing up listening to Too $hort instead of Biggie. The uncredited female rapper featured on “High Maintenance” wasn’t too bad if it caught me off guard passably admitting she & Fuse need a lot of work until the R&B-tinged “South Beach” talks about meeting a freaky chick in Florida.

K Camp joins Fuse on the moody pop rap track “Head Shots” cranking up the seductive subject matter to wrap up the 1st leg of Womanizer just before “Date Night” telling the story of him taking a woman out for dinner costing $100 each to get the 2nd half underway. “Unstable” continues from there talking about a chick who needs some serious healing while “Couples Therapy” admits to dating a female without having any intentions of committing.

“Always Around” featuring Landstrip Chip finds the pair linking up over a sample-driven trap beat speaking to the type of women they should ghost instead of fucking in luxurious vehicles while “Ring the Alarm” featuring Sy Ari da Kid joins forces so they can issue a warning regarding someone’s girl being unfaithful to him. “Burnt Out” spends the remaining 2 & a half minutes of Womanizer asking this thot who lost all her values sleeping with guys for nice things she won’t receive in return.

Taking an opportunity to focus on himself as a recording artist after producing for others for almost 2 decades, I do think there’s room for Fuse to grow as a performer & Womanizer as a whole makes for an average beginning to this new chapter of his career. araabMUZIK killing it the production was a given to me since I’ve been paying attention to him ever since the stuff he did with Slaughterhouse in my adolescence, but the romantic subject matter gets tiring after a bit & had expected more out of the guests.

Score: 3/5

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Bronze Nazareth – “Elysian” review

Here is the 7th solo LP from Detroit, Michigan emcee/producer & Black Day in July Productions founder Bronze Nazareth. Known for his membership with the Wisemen alongside his late brother Kevlaar 7 & eventually the Wu-Tang Clan’s in-house production team the Wu-Elements, he made his solo debut The Great Migration almost 2 decades ago & then School for the Blindman only 5 years later. Bundle Raps & Ekphrasis produced entirely by Leaf Dog & Roc Marciano respectively became his strongest output since his debut, coming off his childhood friend Apollo Brown producing Funeral for a Dream in tandem with Escapism Recordings last summer to have his sibling behind the boards 1 last time for Elysian.

After the “Elysian Invocation” intro, the opening song “Soul Stirrer” hops over a boom bap instrumental talking about being next in line whereas “Adesanya” shows some love towards UFC Hall of Famer & former UFC Middleweight Champion Israel Adesanya. “All I Could Do (Open 2)” whips up a sequel to a track off Illah Dayz’ 3rx album Ponch’e leading into “Lupus” featuring Hollywood Dots the Oncelor talks about the disease that killed the late, great J Dilla over 2 decades ago.

“Jacob’s Ladder” combines elements of soul boom bap to hit us with a flow smoother than cologne & after the “Kevlaar 2” intermission, “Bad Boys ‘04” featuring Salute da Kidd finds the pair likening themselves to the Detroit Pistons back when they won their last NBA Championship to date. “You’ve Been There” continues the 2nd half of Elysian with another soulfully dusty crossover talking about superstition not having a place within the journal inside his head.

Kevlaar 7 himself appears posthumously on “So7o” so the Cross siblings can rock the mic together 1 last time while “House of Legends” runs it back with Salute da Kidd provides an audio visitation rather than performing verses talking about feeling alive again inside. The final song “My Dead Brother Superhero” featuring Lord Jessiah preceding the “Elysian Benediction” outro ends Elysian with a soulful boom bap closer remembering his brother.

Nearly a dozen years since Kevlaar 7 passed away around Christmas 2014 of a blood disorder, his younger brother Bronze Nazareth digs up some of the final batch of beats he made giving them everything it deserved from his perspective & I don’t see how anyone who’s been down with them since the Wisemen days would be disappointed with the results of Elysian if he were here. Bronze ambiguously tackles streetology, life in the Motor City, aspirations, the wins & the losses while simultaneously making it clear K7’s sound hasn’t left.

Score: 4.5/5

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The Go – “Free Electricity” review

The Go is a garage rock revival band from Detroit, Michigan formed by frontman Bobby Harlow, guitarist/bassist John Krautner & drummer Marc Fellis. They would go on to release a total of 5 full-lengths including their 1999 debut Whatcha Doin’? under Sub Pop Records as well as the sophomore effort Supercuts& their eponymous 3rd album. Howl on the Haunted Beat You Ride & Fiesta, disbanding after the latter. A 6th studio LP however dating all the way back to 2000 has been authorized by Sub Pop & hearing they initially shelved it for being too “uncommercial” at the turn of the millennium only to dig it out of the vaults was intriguing to hear.

The title track fires it all up with an intro reminiscent of proto-punk bands MC5 & The Stooges pleading for his partner to let out the love she has for him whereas “Secular Century Man” takes a more lo-fi garage rock approach singing about the trials awaiting beyond a set of gates. “All Dimensions Are Loose” continues to take heavier inspiration from MC5 & The Stooges making a statement regarding freedom of expression & after “Peacock’s Angel” sings over these buzzing guitar tones about ready to blow your mind with a great time, “Pharoah’s Tomb” reaches the halfway point with a free jazz-influenced ode to the late Pharoah Sanders.

“Into Outer Space” kicks off the 2nd half of Free Electricity on a more tranquil note pleading for this woman to brought back home leading into “Turnin’ On” fusing glam & punk rock despite the subject matter heading towards a more sexual direction. “Blood Red Sun” would easily be my least favorite song here due to the unnecessary length on top of the repetitiveness but once “Muthers of the Earth” hooks up some psychedelic guitar tones for a peaceful Mother’s Day anthem, “Golden Dawn” concludes the album we should’ve gotten after Whatcha Doin’? with 1 last garage rock jam singing about a sunflower making you feel alright.

Supercuts & self-titled were ok largely because they didn’t really explore beyond the garage rock revival style when Free Electricity was shelved, so I really felt like things would’ve looked differently had Sub Pop Records let The Go release it as originally planned because it deserves it’s spot with the likes of Whatcha Doin’? & Howl on the Haunted Beat You Ride as the top 3 most crucial offerings in their catalog. The production’s significantly jazzier compared to their debut although there are moments that have the same acid garage rock revival feeling as it’s predecessor, drawing additional inspiration from the late spiritual/free jazz icon Sun Ra.

Score: 4/5

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KARRAHBOOO – “Not da 2” review

KARRAHBOOO is a 29 year old rapper from Atlanta, Georgia who blew up in 2023 after former TNA World Champion, NXT Champion, NXT North American Champion & WWE United States Champion Trick Williams’ manager Lil Yachty signed her to Concrete Rekordz. Not only would she depart the label the following summer, but she was most notably the only artist in its brief existence who was actually talented other than Yachty himself of course. However coming off a string of guest appearances, she’s ready to make a broader introduction to the world with her official debut extended play.

“Inside the Booth” produced by Coupe talks about needing space from her clingy partner because she’s too high whereas “Pull a Luh Band Out” boisterously looks to walk her opps like dogs over a bell-driven trap instrumental. The lead single “No Hook” talks about being ready to drop for a minute & her past issues with Concrete embracing the Detroit sound just before the 2nd single “WYD?” hops on top of this cloudy Take a Daytrip beat describing a guy who’s constantly hitting her up.

Monaleo appears for the off-kilter “W.Y.O. (Whatever You Want)” taking shots at their completion over some buzzing synthesizers & hi-hats just before “Patched It Up” featuring Lil Yachty gets more in detail about their beef being squashed. “Make Her Dance” featuring k3 hits us with my least favorite guest appearance of the 4 which sucks because I don’t mind the sinister atmosphere while the 3rd &!final single “Keep Up w Me” featuring Zukenee makes up for it talking about learning from their mistakes & needing no pity.

“Swerve” wraps up the final moments of Not da 2 cautioning that anyone who fucks with her will wind up dead in the ocean & not being shy whenever money’s involved while “Understand Me” discusses being misunderstood, blocking out all the hate from the type of individuals who envy her & chasing the bag for her family’s sake. “Do U 1 Better” spends the remaining 115 seconds of the EP talking about upstaging everyone with her mother providing a sweet spoken word bit during the outro.

I’m fairly certain Mercury Records & Republic Records will do much more for KARRAHBOOO’s career than Concrete Rekordz ever did in the short amount of time she was signed to Yachty, but Not da 2 fell somewhat short of my expectations & hope for her full-length studio debut to be much grander statement in her discography. She does her part telling the world where she’s at in her life right now bringing a few guests on board who mostly kill it except the production choices could’ve been better.

Score: 2.5/5

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Dizzee Rascal – “We Want Bass” review

Dizzee Rascal is a 41 year old MC, songwriter & producer from London, England, United Kingdom who’s often considered a pioneer of the grime subgenre. His 2003 full-length debut Boy in da Corner under XL Recordings has been hailed as some of the best UK hip hop this millennium although Showtime & Maths + English were mildly received in comparison. Tongue ‘n Cheek launched his own label Big Dirtee Records in tandem with Island Records, following it with The 5th as well as Raskit & E3 AF respectively. Don’t Take It Personal was a modest declaration of independence & was intrigued by what his 9th studio LP had to offer almost a week after FTR, Kanji, Connor Mills, the current CMLL Mundial Femenil Campeon Persephone, Swerve Strickland alongside The New Level, The Brawling Birds, Mercedes Moné, Will Ospreay, La Parka, Kelani Jordan, Jackson Drake & Grayson Waller all respectively became the new RPW British Tag Team Champions, RPW British Women’s Champion, RPW British Heavyweight Champion, AEW tbs Champion, AEW World Trios Champions, AEW Women’s World Tag Team Champions, AEW Women’s World Champion, AEW World Champion, AAA Latinoamericano Campeon, NXT Women’s Champion, NXT North American Champion & NXT Champion.

“Foxtrot Oscar” opens up taking inspiration from electronic dance music instrumentally talking about doing whatever he wants because he’s a rockstar whereas “VIP” hooks up a rubbery bass-line so he can boast of not having to show ID when pulling up to the club. “Hit the Spot” leans towards a house vibe for a raunchier approach topically including a cringey sample of “Candy Shop” by 50 Cent until the 3rd single “So Hot” serves a weird blend of hip house, jackin’ house, Euro house & Brazilian bass sampling “Hot in Herre” by Nelly.

Continuing from there with “On Rpt”, we have more romantic lyricism over house beats containing a bit of an R&B twist to it just before the 2nd single “C U Dance” talks about wanting to watch a woman’s dance moves over a self-produced hip house instrumental. “Don’t Say a Word” further combines hip hop & house suggesting for people to listen & follow rather than merely speaking while the grime standout “Muy Bien” aggressively gets on his hardcore shit.

“All Night” began the whole rollout in the form of this uninspired lead single talking about letting the bass blast until sunrise while the 4th & final single “What U Need” treads the bassline waters promising to give his lover whatever it is she desires. “The Baddest” goes back to the hip house side of things talking about a lean-bodied woman being the best thing he’s seen all evening while “Oh Why” rattles off a list of questions he’s had for some time.

The song “Look Twice” prepares to wrap up We Want Bass speaking of a lady who’s so beautiful that Dizzee had to double check by looking at her a 2nd time while the delightfully surprising “Ridin’ Round Slow” featuring [Bun B] finds the pair talking about driving around in their whips slowly so all the pussies can see them. Another favorite would be the closing track “Tell Me Why” because he’s really taking these final minutes to get some serious shit off his chest.

Would’ve never imagined Dizzee Rascal making something almost as bad as The 5th if not worse since Raskit, E3 AF & Don’t Take It Personal we’re all average at best but here we are with another low point in the grime pioneer’s discography. I completely understand the hip house, jackin’ house, Euro house, Brazilian bass & bassline production was meant to homage the UK club scene except it all feels repetitive & the hardcore joints all outshine the sexually charged cuts.

Score: 1.5/5

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Button Masher – “Super Button Masher” review

Baltimore, Maryland chiptune & jazz fusion producer Button Masher making his full-length studio debut. Since the turn of the decade, he’s dropped a total of 10 extended plays & 4 mixtapes including the Tracker Vision series. One of the most iconic names in the entire LA beat scene Flying Lotus signed him to Brainfeeder Records distributed by Ninja Tune earlier this summer & it was more than enough for me give the Super Button Masher a listen so I could get a better understanding of who he is artistically.

“Pastel Roses” beautifully sets the tone of what’s to come with this 3 minute intro blending jazz fusion & 16-bit whereas the lead single “Magic Dragon Ride” comes through with a tribute to 菊田裕樹 that feels reminiscent of the soundtrack to the iconic SNES RPG Chrono Trigger. “Tower Climb” brings saxophonist Nicole McCabe into the picture for another 16-bit/jazz fusion crossover further incorporating some wavy synth melodies & after the 2nd single “House Party” featuring Amanda Barise instrumentally treads funkier waters, “The Space Between Worlds” takes it back to the combination of jazz fusion & 16-bit reminding me of something outta the earlier Sonic the Hedgehog games.

Kicking off the 2nd half of his debut, “Dance of the Twin Bees” retains those 2 styles I had mentioned earlier for a colorful composition until “Hidden Power” hits us with a rush of synthesizers emphasizing the 16-bit side of things. The 3rd & final single “Tallinn Massage Chair” featuring nu jazz duo Sungazer was conceived after coming across a weirdly shaped massage chair at a hotel in Tallinn, Estonia when they were touring but once “EDBM” featuring drummer Dana Hawkins & bassist Evan Marien for a jazz fusion cut, the closer “Pause Menu for the Broken Hearted” finishes the Button Masher’s inaugural LP with 1 last 16-bit track.

The soundtrack to what many including myself would the greatest Mario game of all-time Super Mario World has been universally accepted as the pinnacle of 16-bit, so for FlyLo to bring an artist in that vein on board the Brainfeeder roster was an exciting move & Super Button Masher definitely encapsulates Button Masher’s growth over the years. He essentially produced a half hour’s worth of jazz fusion & 16-bit mixtures taking us back to simpler times in the midst of merging nostalgia with all he’s learned throughout his career up until this point.

Score: 4/5

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Behemoth – “I, Scvlpter” review

Behemoth is an extreme metal band from Gdańsk, Poland consisting of guitarist Seth, bassist Orion, drummer Inferno & frontman Nergal. Their 10th album The Satanist back in my junior year of high school under Nuclear Blast Records was my introduction to them despite being around for over 2 decades at that point & became a fan of theirs ever since, following it up with the positively received I Loved You at Your Darkest in 2018. The Shit ov God last spring was welcomed to more lukewarm responses, coming back only 16 months later for a new extended play.

The title track sets the tone with this black metal intro recorded for The Shit ov God only to be scrapped because Nergal felt like it outshine the rest of it declaring the sculptor of eons & worlds doesn’t rest for anything whereas “Lord ov the Horizons” interestingly dates all the way back to the Opvs Contra Natvram sessions, although it almost made The Shit ov God until being excluded for not suiting the concept. “Begotten” concludes the EP with 1 last Shit ov God outtake detailing being all but divine.

Excluding the 2 re-recordings of their early demo cuts “Rise of the Blackstorm of Evil” & “In Thy Pandemaeternum” as well as the covers of “In League with Satan” by Venom and “The Return of Darkness & Evil” by Bathory respectively, Nergal & company pretty much warm their fans up in preparation for their upcoming 14th studio LP by digging up 3 respectively solid black metal tacks that were recorded for the last couple of full-lengths they’ve done taking it back to their roots & honoring those who came before them.

Score: 3.5/5

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Hieroglyphics – “All Said & Done” review

The Hierogylphics are an alternative hip hop collective from Oakland, California comprised of de facto leader Del the Funky Homosapien, Casual, Pep Love, the Souls of Mischief, DJ Toure & producer/manager Domino. Making their full-length studio debut in 1998 with 3rd Eye Vision independently through Hieroglyphics Imperium Recordings to widespread praise, their 2003 sophomore effort Full Circle was also welcomed positively although their follow-up a decade later The Kitchen generally left audiences divided. 13 years later & they’re warming up for the crew’s annual Hiero Day festival this weekend with their 4th studio LP.

“Mosaico: Suite 1” by Casual, Del the Funky Homosapien, Opio & Tajai produced by Domino talks about hip hop respecting liars in 2026 & having no expecting of their albums becoming fire whereas “Eyes Wide Shut” by A-Plus, Del & Pep Love finds the trio confronting all the fraudulent hate over an A-Plus instrumental. “Hieroglyphics Faction” by A-Plus, Del & Opio representing their crew over a boom bap beat from DJ Toure while “Hard Numbers” by Casual, Del, Opio, Pep Love & Phesto expresses hope of having their numbers correctly.

A-Plus & Pep Love team up for the summery “Something in the Air” talking about wanting their legacies to reflect integrity when the time comes for them to hang it up leading into “Drum Talk” by Casual, Del the Funky Homosapien, Phesto & Tajai discusses letting the drums do the speaking in preparation for their slick rhymes being laid out. “The Way That It Be” by Casual, Phesto & Tajai talks about being stuck in their ways that pay ‘em leading into “Gods & Goats” by A-Plus, Opio & Pep Love ending the 1st leg likening themselves to bishops making proclamations.

The title track kicks off the 2nd half uniting A-Plus, Pep Love & Phesto expressing that they’d rather have a small piece of something in the end instead of absolutely nothing while “Uplifted” by A-Plus, Casual, Del the Funky Homosapien, Opio & Tajai tackles the subject of optimism. “Helicopter Barrel Roll” by A-Plus, Opio & Pep Love regroups so they can explain themselves as hip hop’s gasoline & every mic being a matchstick while “3rd Eye Robot (Kill ‘Em All)” by A-Plus, Pep Love, Phesto & Tajai talks about the rise of AI within the past couple years.

“Hiero on the Scrolls” by Casual, Del the Funky Homosapien & Tajai opens the 4th quarter suggests seeing past the streets & the meager mouths while the groovy “Mosaico: Suite 2” by A-Plus, Pep Love & Phesto dismisses all theatrics coming around them. “Everyday Shit” by Casual, Opio, Pep Love & Tajai talks about kickin’ it with each other all the way back to their childhood whole “Crescent Moon, Velvet Sky” by Casual & the Souls of Mischief sends off All Said & Done taking their play amongst hip hop excellence.

It’s not very often where all 9 members of the Hieroglyphics get together in the studio for an entire project but if I had to rank the 4 LPs in their catalog, All Said & Done would be placed above The Kitchen & Full Circle as my 2nd favorite of theirs collectively behind none other than 3rd Eye Vision. The boom bap production’s less receptive than The Kitchen’s was back when I had finished my sophomore year of high school & the consciously abstract bars from the Bay Area’s finest MCs feel more memorable, pretty much looking back at the legacy they’ve left behind.

Score: 4/5

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Sleep – “Hempispheres” review

Sleep is a revered stoner metal band from San Jose, California consisting of drummer Dale Crover, guitarist Bubba Dupree & their only constant member in co-founding bassist/frontman Al Cisneros. Their 1991 full-length debut Volume 1 was solid, but Holy Mountain along with Jerusalem & Dopesmoker have all become stoner metal landmarks of their own. Returning in 2018 with their highly acclaimed 3rd Man Records debut The Sciences, they’re back again almost a decade later for their 6th studio LP albeit 2nd for Jack White’s indie label.

“Have Spacesuit Will Travel” conceptually inspired by Robert A. Heinlein’s novel of the same name left me torn as both a lead single & and intro because I didn’t feel like it pushed the stoner metal, space rock or stoner rock sounds forward in any way until “The Morrisist” comes through with another take on those styles that I’d consider decent at best except there’s a noticeably heavier Om influence than before & it’s brevity makes a good justification for being the 2nd & final single. However, Dale’s drumming left me equally unimpressed as Bubba’s guitar work.

The messy stoner title track would easily be my lest favorite if I had to pick one largely in part of the guitar tones being ripped out of the Kyuss playbook hence why it makes for my least favorite song here & once the 11-minute jam session “Arrival of the Industry Ships” delivers some of Al’s finest singing performances although his bass is blown out to the point where it can be distracting for some listeners, the closer “Whole Wheat Mountain / Well Baked” finishes Hempispheres oddly saving some of Bubba’s finest shredding for last.

This being Sleep’s being first album without co-founding guitarist Matt Pike was a huge concern of mine going in & although I still hold these guys in high regards, Hempispheres has the most likelihood of becoming the weakest entry in their discography yet unfortunately. I don’t mind Al Cisneros’ subdued vocals or the heavy psych undertones & even Dale Crodder’s drumming as someone who appreciates the Melvins, my issue lies with a great deal of Bubba Dupree’s riffs feeling thin compared to Matt’s & that’s why the stoner metal outfit’s newest incarnation leaves me on the fence. Either Bubba steps his game up or Al & brings Matt back.

Score: 3/5

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Fuego Base – “Still the Biggest” review

Hartford, Connecticut emcee Fuego Base releasing a sequel to his full-length studio debut in the form of a sophomore effort. Getting his start a few years ago off his debut EP Tell My Momma Imma Rapper, he would continue to build up his catalog by going on to drop another EP called Tell My Momma Imma Rapper Still & the Say Dat mixtape trilogy prior to Buffalo’s very own Benny the Butcher signed Fuego to Black Soprano Family Records. Coming off Biggest Since Camby as well as Say Dat 4: Proof of What God Do & Tell My Momma I’m Still a Rapper, he wants the world to know he’s Still the Biggest.

“Barbour St” strips the drums to open up shop talking about being in the hood because he’s a product of it instead of being poverty stricken whereas “Hartford” takes the boom bap route instrumentally for an ode to his hometown. The title track featuring Benny the Butcher finds the pair linking up to talk about how Fuego’s spot as the hottest prospect in his city hasn’t changed while ‘“93” discusses not knowing who one is until life tests you.

Sule appears for “T.E.I.O.” (To Each Is Own)” talking about making the bail & running along with rappers being 40 not doing shit with their careers leading into “Open Book” kicks off the 2nd half explaining the very reason he gives fans all of himself in his music. “Getting Out” talks about death, prison or copping a bigger house being the only choices possible of escaping the streets while “Rejoice” preaches hymns for his kinfolk somehow emerging where throats stay slit.

“Thank God 2” talks about touching people whenever he opens his mouth to speak & having an addiction to the game as bad as the junkies he served dope to while “Honda 2 Rari” cavernously admits he wouldn’t know where his mental state would’ve been if his squad wasn’t there for him when his mother passed away. The outro “Survivor’s Remorse 2” sends off Still the Biggest talking about not changing anything if he had the opportunity of rewriting his story.

3 & a half years since Fuego Base declared himself the Biggest Since Camby after signing to B$F, he’s continuing to let the work he’s putting in speak for itself several months since he & Benny linked up for their Ashes in the $afe collaborative extended play to deliver an exceptional sequel to his full-length studio debut. Was somewhat disappointed with the production lacking the same heavy hitters that made Still the Biggest’s counterpart so impressive, but there’s no denying his status within Hartford hasn’t changed since.

Score: 3.5/5

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