Asun Eastwood & Daniel Son – “Nom de Guerre” review

This is the 3rd collaborative LP from Toronto, Ontario, Canada emcees Asun Eastwood & Daniel Son produced by Futurewave. Notable for being members of the Brown Bag Money collective, they would originally unite in 2018 when teaching the Physics of Filth & ran it back during the 2020 COVID-19 pandemic when the previous album they did together Bite the Bullet dropped. So hearing they were doing Nom de Guerre nearly a month after former DPW Worlds Tag Team Champions, 新日本プロレスリングストロングオープン級タッグチームチャンピオン, RPW British Tag Team Champions & NXT Tag Team Champions the Grizzled Young Veterans ended 1st Faction’s reign as MLP Canadian Tag Team Champions.

After the intro, “MACV-SOG” breaks down the door with this hardcore boom bap opener likening themselves to the unconventional task force around the time of the Vietnam War whereas “Headcrack City” infuriatingly claps back at their detractors who thought they wouldn’t make it this far. “Plant the Flag” talks about claiming their turf since they’re standing on the hill prior to “Catch a Limit” dustily tuning out everyone who can’t play shit compared to them.

“Trump Towers” moves on from there depicting the gangsta lifestyle together over another boom bap instrumental while “Fassy Bwai” featuring Kardinal Offishall reaches the midway point of Nom de Guerre demolishing any coward who gets in their way. “Blood of the Irish” kicks off the 2nd half on some jazzier vibes talking about their desires of attempting to lay low for a bit just before “Clean Up Nice” details real life sob stories being fed up of being broke.

The song “Repugnant” blends a piano and the some kicks & snares talking about having an abundance of money & cocaine leading into “Riding Convey” featuring Wizdome Buntail & 36 Cypher finds the quartet sinisterly painting the walls using the blood of their opposition. “Dusty Particles” featuring Lord Juco brings an organ in the picture so all 3 of them can get in their hustler bags lyrically while the closer “Dirty Weaponry” chops up a drumless sample talking about showing the world beyond sight.

Sidelining my personal belief of Asun Eastwood’s output post-The S.O.U.L. (Science Of Understanding Life) being average at best, seeing him reuniting with Daniel Son for Nom de Guerre thankfully lived up to my expectations of becoming the strongest collab effort since he released 98 Miles with M.A.V. roughly 5 & a half years ago. Physics of Filth & Bite the Bullet are both superior with the latter having a superior guest list, but it’s refreshing to hear their chemistry hasn’t waned.

Score: 4/5

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Young Nudy – “Just Doin’ Me” review

Atlanta, Georgia rapper Young Nudy returning for his 5th studio LP albeit Atlantic Records debut only days away until the Halloween weekend commences. Despite being cousins with 21 Savage, he eventually carved a lane of his own in the last decade with 10 mixtapes (the most notable ones being the Pi’erre Bourne-produced Sli’merre & it’s sequel) followed by his previous 4 full-lengths. However, he’s returning after taking a trip to Paradise explaining how he’s Just Doin’ Me.

“Hits” produced by FNZ was actually a pretty good note to start on talking about moving like the mafia whereas “Chicken Tender” expresses his frustration towards people acting like enemies instead of folks over a plugg instrumental from Coupe. “Let Me Show You” turns up the aggression so Nudy can talk about being on some Rick Owens shit daily just before the boastful 2nd single “Who Dat Is” running it back with Coupe to combine trap & Chicago drill.

Coupe sticks around for “Nonstop” pretty much reminding everyone that Nudy stays in the streets & flexing his wealth while “Stars in My Car” featuring Fatt Smaxk finds the pair decently talking about how far each of them have come. “Spinnin’” featuring 21 Savage moves on from there referencing one of my top 3 shows of all-time Better Call Saul leading into “War” talking about preparing to engage in combat against the type who act like they want beef.

“Spaghetti” kicks off the 2nd half of Just Doin’ Me hitting us with more gangsta imagery cautioning there’ll be issues if no one wants to ride for him while “F.B.G.M. (Fuck Bitches Get Money)” lets the world in regarding what motivates him. The 3rd & final single “Broke Bitch” airs out his grievances towards a woman who’s struggling financially while the lead single “Ya Dig” talks about riding with the type of people who kick doors down.

The song “Why Would I?” incorporates these haunting synth melodies making it clear that he’ll be in the cut if anyone wants to see him while “Judy” featuring J.I.D samples “My Life’s Alright” by Shira Small to talk about not fucking with lames. “Vibe Out” looks to show these muhfuckas the proper way of ballin’ & the prices not lowering for shit despite doing it all while the closing track “Cream Pie” spends the album’s remaining minutes talking about his girl eating up the dick.

A lot of people including myself would consider Young Nudy amongst the most consistent artists in trap, but I honestly wouldn’t rank Just Doin’ Me amongst his best material although I I certainly believe the positives outweigh the negatives. It’s always entertaining to hear him telling stories of what growing up in Zone 6 was like for him even if I was expecting more out of the production regardless of the appreciation I have for him trying to work with different producers.

Score: 3/5

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Autumn! – “Midnight Club 2” review

Here we have the 7th studio LP from Lafayette, Louisiana rapper, singer/songwriter & producer Autumn!. Gaining traction off a total of 22 EPs & a full-length debut on SoundCloud since 2018 prior to signing to Victor Victor Worldwide & Republic Records succeeding the Not Much Left EP, he made his major label debut 4 & a half years ago with his sophomore effort Antagonist! as well as following it up with the last 2 installments of the Golden Child trilogy & Midnight Club. However, he’s returning for a sequel to the latter after taking it Back 2 My Roots & breaking down the life of a Rolling Stone.

“12AM” begins with a mediocre pop rap intro talking about this woman trying to bring him too deep whereas the self-produced “Hallucinating” goes for a cloudier trap direction instrumentally telling his partner everything will be fine since he’s right by her. “Reflexion” brings a more hyper vibe to the table calling out people for acting tough online only to be shocked when being confronted in real life leading into “Beck” talking about money, power & respect.

The rock undertones throughout “Luster” were interesting to hear suggesting that everyone better post up whenever they see him in the paint just before “ILYIHY” ends the 1st leg sampling “ILoveUIHateU” by Playboi Carti talking about a lover who keeps fucking with his head. “Take 1 Song” kicks off the 2nd half callin’ bluff at an individual who be runnin’ their mouths without having anything to back it up while “Widebody Cullinan” talks about his closet costing people’s entire lives.

“Lefty” admits that there was point prior to “1 Way!” coming out where he forgot who he was although he knew he’d eventually make it while “Kennel of Life” talks about being outside with his dogs. “Know How Sojas Be” details him living life the way he feels like he should & after “Cash Shit” spends a couple minutes boasting his wealth, “Sometimes” produced by Goyxrd concludes Midnight Club 2 admitting there are days where he feels like he’s soaring & others where he’s in tears.

Autumn!’s output for the past couple years has been hit or miss & although I did enjoy the original Midnight Club back in 2023 shifting away from the pluggnb sound, I wound up liking Midnight Club 2 less than both it’s predecessor & the Kickoff EP he gave us 9 months ago warming people up for this. Primarily because I don’t really find the production to be all that interesting other than Wick handling it 46% of it himself & Goyxrd doing the outro.

Score: 2.5/5

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Bizarre – “Don’t Cross the Street” review

New studio LP & the 10th overall from Detroit, Michigan emcee Bizarre. Emerging as an original member of D12 led by the late Proof, he was also among the first in the crew to put out solo efforts with his 1998 debut EP Attack of the Weirdos being a hometown classic in my eyes. Fast forward 7 years later, Biz followed it up with a worthy full-length debut Hannicap Circus & has continued to put out music on his own since. The Foul Mouth-produced He Got a Gun has since become an entire series of it’s own spanning 5 entries, coming off Basement Jazz to switch things up for Don’t Cross the Street.

After the intro, “Amityville” takes it all the way back to the Dirty Dozen’s stomping grounds accompanied by a boom bap instrumental whereas “Rise Up” continues from there with a 2-parter produced by Blizzard containing a dusty start unloading the shock value hardcore raps he’s known for & a trap switch up accompanied by an uncredited guest verse from a female rapper. “Garlic Sauce” featuring 1 Be Lo however makes up for it having both of them aggressively boasting their penmanship.

“Mercy” brings a more somber beat to the table advising everyone to stay their asses on the other side of the street just before “Get That Doe” featuring Trizz finds the pair joining forces for money making anthem instrumentally treading funkier territory. “Brightmoor” featuring Bareda & Dave Hill has the trio representing the neighborhood of the same near the northwestern border of the city while the title track featuring Chyna Baejing & Northside Lord grimly gets in their hardcore bags again.

The song “Beans” spends 120 seconds talking about always been a spot worker instead of a drug dealer & consuming a bunch of narcotics while “Sunday School” featuring Cory Gunz dismantles any opponents in a battle over a symphonic boom bap beat. “Blinking Light” featuring Dango Forlaine, D-Noe, Lokye, J-Classic, Nolaj & Tru Klassick concludes Don’t Cross the Street with a 6 & a half minute Motor City posse cut where Dango, Lokye & J-Classic deliver the hardest verses of the 7.

Some people have claimed that my appreciation for the He Got a Gun saga was ragebait when I really think it’s some of the best material Bizarre has done by himself, but Don’t Cross the Street doesn’t hit as hard mainly due to only a few guests punching under their weight midway through & Blizzard’s half of the production outshining Big Shaady’s despite appreciating both of them demonstrating their ability to create an entire sound together.

Score: 3.5/5

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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.

Score: 3/5

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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” produced by Wheezy 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 vault & 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 cloudy Whyceg 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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