Trizz & Twisted Insane – “1950 Hallow Creek Drive” review

West coast underground veterans Trizz & Twisted Insane hailing from Inland Empire & San Diego, California respectively enlisting MIKE SUMMERS a.k.a. 7 to fully produce a new collaborative studio LP. One of whom came up when Brotha Lynch Hung signed him to Madesicc Muzicc & the other made a name for himself for pulling off the chopper style without sounding corny in addition to forming his own label Brainsick Muzik. They’ve crossed paths with each other several times over the years & 1950 Hallow Creek Drive looks to celebrate Halloween in the most appropriate manner imaginable.

After the “Whatever You Do, Don’t Knock” intro, “Treats” immediately talks about how trick or treating on Halloween got them going apeshit over a trap instrumental whereas “Hallow Fiends” featuring Bleezo finds the trio on some boom bap vibes explaining that the only thing you hear on this night of the year is the screams of their victims. “Hive Mind” blends jazz rap & trap to address their collective consciousness prior to “Horror Year” dismembering the bitch made off the top.

“Ziplock” continues from returning to the boom bap to depict the lifestyle of a gangsta while “Ebola” gives us a look at the level of sickness each of them possess. “Grindhouse” embraces a trap sound again turning up the level of wickedness together just before “MRI” talks about putting holes in the necks of anyone disrespecting them. “This Sounds Like…” heinously lets the world know what typa shit they be on & “Ransom” wraps up 1950 Hallow Creek Drive giving us 1 last gangsta rap track.

I still believe Coronella with the Psychopathic Records subsidiary Chapter 17 Records’ CEO Ouija Macc stands as my favorite collaborative effort Trizz has done, but there’s no doubt in mind that 1950 Hallow Creek Drive has earned the right of becoming a very close 2nd. Him & Twisted Insane meshing their distinctive styles of gangsta-tinged horrorcore over 7 production varying from boom bap to trap & jazz rap makes for an appropriately bloodcurdling half hour even if I felt like Bleezo’s sole guest appearance was alright.

Score: 4.5/5

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Zukenee – “Nightmare on Slay St” review

Atlanta, Georgia rapper/producer Zukenee celebrating Halloween with his 9th extended play. Starting in the spring of 2021 off his debut EP Undiscovered, he would continue to make a name for himself in the underground by putting out a couple more EPs in Castle & Playful alongside the debut mixtape Stop Playing. Subsequent exclusive singles like “OJAYS” & “Chest” would later become amongst his best singles since both of them were released in the span of a year & a half preceding Player Slayer. Guillotine, Birth of St. Slay, Slaytanic, Knight Shift, Eye Love U, Zuminati & the Trapped in the Dungeon series have all followed since. Coming off last month’s B4BB and Blunts & Blades, he’s putting Nightmare on Slay St exclusively on his SoundCloud page to celebrate the spookiest time of the year.

“Gangsta” produced by Toom of Vanguard Music Group opens up combining some pianos & hi-hats to talk about living like a G whereas “Tom Ford” hooks up some 808s flexing that he smokes big gas & stays pissing off the hoes. “Yen” brings these plinky keys in the picture so he can touch base regarding him consistently catching Ws & running bags up back-to-back just before “Ik Bout Dat” talks about his knowledge of making paper & spending it.

Cade gets behind the boards during the song “Mariah” boasting of his money looking like chapters even though he’s not trying to read a book & once “We Could’ve Been Something” works in these horns that immediately command the attention of those listening right when you press play observing a woman with serious potential of becoming a scholar stooping herself down to a stripper so she can make some quick cash, “Teapot Can Talk” finishes the EP discussing how he mixes lean with tea.

This guy’s dropped a total of 6 projects in the span of 10 months with the moderately received Zuminati & B4BB being the weakest & many considering both installments of the Trapped in the Dungeon duology to be their favorites of the bunch although I’d say each of them aren’t too far behind Blunts & Blades. That being said: Nightmare on Slay St is still a nice way for Zukenee to surprise his fans considering the fact he announced it literally a whole week prior.

Score: 3.5/5

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Noah Mejia – “Platinum After Dark” review

Noah Mejia is a 25 year old producer from Los Angeles, California who was introduced to in the spring of 2023 when he produced the opening track off Sk8star’s 2nd mixtape whole new meaning. He would go on to work with a handful of trap artists ranging from SoFaygo to $crim of the $uicideboy$ & even Lucki, coming off a small handful of stand alone singles that he’s been dropping since the very beginning of 2026 to compile a solo debut extended play of artists rapping over his beats for less than 10 minutes.

“Ballright” by Boohavinn made for a decent trap intro talking about being the flyest muhfucka walking the Earth & flexing his connections to the mob whereas “I Don’t Need Love!” by Cashjunko explaining he’ll only fire his Glock if his girl in the mood. “Shine” by D. Savage co-produced by Rio Leyva kicks off the 2nd half talking about running these bands up while “1500” by Diorvsyou finishes the EP calling out broke ass bums with some buzzing synths Internet Money Records in-house producer Synthetic provides.

If we ever get a full-length studio debut from Noah Mejia at any point going forward, I hope I find myself enjoying it a lot more than I did Platinum After Dark considering I personally was left on the fence with it in general. The first couple guests don’t really stick out but once you get past it, I’m not gonna dismiss Noah handling 75% of the production with the exception of the outro & or the performances picking up towards the backend of it.

Score: 2.5/5

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Kurupt & Snoop Dogg – “The Hollow” review

New collaborative extended play between Philadelphia, Pennsylvania emcee, songwriter, actor & occasional producer Kurupt alongside Long Beach, California emcee, songwriter, media personality, actor, entrepreneur, record executive & WWE Hall of Famer Snoop Dogg. Both of whom met each other in the early 90s at the Roxy when they engaged in a 20 minute battle & signed to Death Row Records not too long afterwards, celebrating Halloween by taking their chemistry to new heights for The Hollow.

“Neighbors” after the ”Our Gang” intro kicks things off with this futuristically funky beat from Rick Rock telling us where they’re from & after “Priceless” takes a more luxurious route instrumentally thanks to Uncle Snoop himself talking about money not meaning shit when everything in life’s going the way it’s supposed to, “Get Yours On” featuring G Perico finds the trio goes full g-funk so they can tell everyone to get what’s rightfully theirs.

Soopafly appears during “Fuss About It” to commence the 2nd half refusing to complain of people building them up to tear them down while “A Dog Party” finds Snoop holding it down by himself calling for people from the suburbs to the slums to go crazy. “Survival” reunites with Young Gotti only to kill everything it had going for it by using AI for the final version of it when the original in May didn’t include that technology whatsoever until “Almost Broke My Collar” concludes The Hollow having Snoop rock it solo 1 last time.

It was telling Kurupt & Snoop Dogg were planning to have an entire collection of material when both singles came out within the span of 5 months almost 6, I completely understand why The Hollow arrived in preparation of Tha Kingpin linking up with Hus Kingpin this Christmas Eve for their own collab album Kingpin’s Theory & the Cuzznz’ eponymous LP over a decade earlier. Aside from ruining the lead single through AI usage, the classic west coast vibes & the boastful performances.

Score: 3.5/5

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Jon Connor – “The Artist Yahn Freeman VIII” review

And here’s the 7th extended play from Flint, Michigan emcee/producer Jon Connor albeit the 8th in his ongoing The Artist Yahn Freeman series. Someone who’s steadily been holding it down for the last 2 decades including The Calling, Vinnie Chase & S.O.S. trilogies along with the Best in the World series paying homage to some of Jon’s influences, Salvation, While You Were Sleeping & Unconscious State. He was even signed to Aftermath Entertainment for 6 years before departing after Vehicle City wound up being shelved, coming off Food for the Soul & 24 produced by KLC of the No Limit Records in-house production team Beats by the Pound to drop VI, VII & VII simultaneously for Halloween.

Tito Lopez appears during the trap intro “There for You” talking about how they feel like superheroes whereas “Never Keep Me Down” explains that confidence is crucial for one to survive & things boiling down to whether you got it or not. “Seen It Before” calls for everyone to line up all the closest people in our lives in a row & after the sinister “Let ‘Em Know” reminds people who’s the realest from head to toe, “We Not the Same” talks about the differences between him & those saying they’re on his level.

“Faith of a Child” continues the 2nd half of VIII instrumentally leaning towards a boom bap to discuss grinding until he gets every last thing he prays for in life while “7 Days” talks about the importance of allowing our surroundings influence us regardless of where one lives. “On Go” discusses him hustling like he’s getting ready to lose his mind & trying to feed his kids while the soulful trap crossover “Legacy” wraps it all up talking about his optimism never being compromised by living in the ghetto.

Similarly to VI dedicating myself to the memory of Jon Connor’s friend Mekeva Blackmon who always gave him a space to be himself & believed in him from the get go to her untimely death a couple months earlier as well as The Artist Yahn Freeman VII honoring his older sister in professional life coach Chanel Patton, The Artist Yahn Freeman VIII brings these new chapters full circle mother Mahaley Lark to coincide her birthday only 24 hours earlier.

Score: 3.5/5

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Jon Connor – “The Artist Yahn Freeman VII” review

This is the 6th extended play from Flint, Michigan emcee/producer Jon Connor & the 7th chapter of his ongoing The Artist Yahn Freeman series. Someone who’s steadily been holding it down for the last 2 decades including The Calling, Vinnie Chase & S.O.S. trilogies along with the Best in the World series paying homage to some of Jon’s influences, Salvation, While You Were Sleeping & Unconscious State. He was even signed to Aftermath Entertainment for 6 years before departing after Vehicle City wound up being shelved, coming off Food for the Soul & 24 produced by KLC of the No Limit Records in-house production team Beats by the Pound to drop VI, VII & VIII simultaneously for Halloween.

“Look at Me Now” opens up with a trap intro talking about people laughing at this person instead of with them whereas “They Ain’t Free” calls for people to stop idolizing those who hate their lives. “Actin’ Like” talks about prioritizing his peace over what people in the streets be saying but after “Same Story (Don’t You Know)” observes everyone trying to get their money & minds right, “Leap of Faith” reminds us all that karma’s very much real.

As for “Dark or Light”, we have Jon talking about how making something outta nothing is simply what he does while “Halfway Home” explains there being more to life than what we’re shown regularly. “The Reminder” experiments with disco rap for not even a minute expressing hope of what he’s saying being made to clear to people listening while “Start Today” soulful ends VII offering some clear advise to those who aren’t living up to their full potential.

Considering that VI was dedicated to the memory of Jon Connor’s friend Mekeva Blackmon who always gave him a space to be himself & believed in him from the get go to her untimely death a couple months earlier, I love the idea of him expressing the gratitude he has towards professional life coach Chanel Patton throughout The Artist Yahn Freeman VII, who considers his older sister the 1st best friend he ever made in his life. I also have to commend Maestro Williams for the outstanding mixing.

Score: 3.5/5

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Jon Connor – “The Artist Yahn Freeman VI” review

Finally got the 6th installment of Flint, Michigan emcee/producer Jon Connor‘s ongoing The Artist Yahn Freemanseries. Someone who’s steadily been holding it down for the last 2 decades including The Calling, Vinnie Chase & S.O.S. trilogies along with the Best in the World series paying homage to some of Jon’s influences, Salvation, While You Were Sleeping & Unconscious State. He was even signed to Aftermath Entertainment for 6 years before departing after Vehicle City wound up being shelved, coming off Food for the Soul & 24 produced by KLC of the No Limit Records in-house production team Beats by the Pound to drop VI, VII & VIII simultaneously for Halloween.

“Miracle” begins with this cinematic trap intro talking about being a supernatural phenomenon in the living flesh whereas “The Confessional (Long Road)” breaks down all the things he used to do in his life. “Unapologetically Me” instrumentally leans towards a more soulful trap vibe talking about having no remorse for doing his thing just before “Consequences of Content” observes people not comprehending the things they watch every single day.

Continuing from there, “Evidence” talks about the amount of potential wasted when people succumb to temptation leading into “The Best” flexing that he was born to be the greatest to ever do this shit. “Forgiveness of Self” interestingly blends jazz rap & trap including a cool interpolation of “Hail Mary” by the Outlawz to reach the midway point of the tape while “On Everything” passionately talks about using the flow to bare his soul when he’s ready to snap.

“Chosen / The Moral” comes through with a 2-parter explaining that he’s worked too hard to waste his energy while “It Will All Make Sense” spends a couple minutes getting in his conscious bag lyrically. The boom bap instrumental “On Everything 2” brings to the table could be my personal favorite on VII revisiting it’s predecessor’s energy & “Never Die (Testify)” encourages to go hard when you’re fed up, “Conversations with Keva” remembers his late friend Mekeva Blackmon.

So much has happened in Jon Connor’s life over the course of these past 4 months including the untimely death of Keva, so it makes all the sense in the world for the All Varsity Music Group founder to dedicate VII in memory of the very person who always gave him a space to be himself around since she believed in him since the very beginning alongside making it The Artist Yahn Freeman saga’s lengthiest clocking at over a half hour.

Score: 3.5/5

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Alla Xul Elu – “WHellcome Home” review

Portsmouth, Ohio horrorcore trio & Long Live Evil founders Alla Xul Elu’s celebrating Halloween with their 8th studio LP. Consisting of Billy Obey as well as Joey Black & Lee Carver, they broke out a decade ago as a duo by releasing their first 2 albums Head of Horns & Sci-Co that same year. This was followed up with their 4/20-themed debut EP Necronomichron in 2017 & adding Carver into the fold shortly after, but it wasn’t until Twiztid signed them to Majik Ninja Entertainment in 2018 when the Xul Boys’ music got increasingly better. Their MNE debut The Almighty is unquestionably the greatest horrorcore album of the 2010s, their 2019 EP Church of Xul took a much darker approach, Mauxuleum made it in the top 10 of my Best Releases of 2020 list despite them ditching their signature boom bap sound for a more industrial, trap metal direction & Necronomichron 2: Dead by Bong was a superior sequel to their 4/20 EP. The Magic Xul Bus preluded their final MNE offering Gods of Evil Rise produced by Mike E. Clark, opening for Psychopathic Records & Juggalo Championship Wrestling (JCW) founders the Insane Clown Posse last Hallowicked. Coming off No Masters & Universal Perverts however, WHellcome Home is here 2 months after its initial announcement on the eve of Nic Nemeth becoming the new JCW World Juggalo Heavyweight Champion.

Following the “Introvert” intro, “Ancient Evil” comes out the gate with a hellish boom bap opener talking about the LLE never expiring whereas “All is Dead” makes themselves at home in a place where there’s absolutely no peace whatsoever. “F.Y.I.T.A.X.E. (Fuck You It’s The Alla Xul Elu)” named after a signature catchphrase of theirs expresses their love for the wicked shit keeping it dusty leading into “Doombaptism” talks about the style of music they play called “doom bap”, similarly to Necro inventing “death rap”.

“Dark Daze” moves on from there sharpening the knives they write with every single evening just before “AKA the Grave” keeps the doom bap vibes rollin’ talking about putting people 6 feet below the ground. “Dances with Worms” featuring the newest member of the Long Live Evil family Malakeye finds all 4 of them reminding us death’s everywhere while “Corpsegarden” begins the 2nd half waking up the deceased arising from parts unknown.

As for “Faith”, we have Xul reiterating the trust they continue to put putting in the Church of Xul until the danceable “AXE Slaps Hacks Backs” talking about chopping people up with an axe. Things return to the doom bap for the group to let out all of their “Invasive Thoughts” & explaining how fucked their brains are in process while “Freezer Burnt” talks about someone being left in the cold so long that they wound up getting frozen, unable to adjust the temperature.

The title track appropriately winds down the last act of WHellcome Home asking if anyone will go after them straight down to Hell’s Pit while “SINsation SELLebration” immediately talks about throwing the hottest party Hell’s ever had, spitting the wicked shit over an EDM instrumental. “Future is Fire” featuring Jahred Gomes takes it back to their signature doom bap style informing those who want to return home of the harsh reality that it won’t happen & “Homebody” finishes the full-length militantly talks about confronting their demons for their own happiness.

These guys have been on an absolute ROLL this year whether it was the clarification of Alla Xul Elu having No Masters & of course the raunchy Universal Perverts EP we got 4 weeks earlier, WHellcome Home comfortably places itself at the hierarchy of everything they’ve done in 2026 & hearing Billy announcing through social media of them having so much more material coming down the pipeline rivals the output of Chapter 17 Records CEO Ouija Macc in keeping the scene alive for generations to come.

Score: 4.5/5

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Madopelli – “Wicked Season” review

California City horrorcore duo Madopelli consisting of M.A.D & Ant Dog dropping off their 3rd extended play. Dropping a couple of mixtapes & EPs ever since forming a decade ago, their sophomore effort albeit Lyrikal Snuff Productionz debut No Bluffin’ proved itself to be Madopelli’s most refined work to date both lyrically & sonically to the point where they were instantly accepted within the Gorehop realm. The follow-up Stories from the Sanctum later resulted in both members making their LSP debut as solo artists with Sadistic Symphony & M.A.D (Me Against Death), coming off Suffer Not Dishonor & The Unkindness to celebrate Wicked Season.

After the intro, “Autumn Fallz” produced by M.A.D opens up having the pair drearily talking about them painting the walls with blood & mentally being gone while “Witching Hour” admits they can’t sleep at night because they feel like their souls are decaying over a symphonic trap instrumental. “Dark Arts” kicks off the 2nd half talking about murder & the title track preceding the outro concludes the EP shifting towards a trap sound again explaining there’s no time to sleep since Halloween’s here.

The Unkindness certainly rubbed people the wrong way last month largely because of its artwork when their observations of the world becoming increasingly crueler were 100% valid & one calling it one of the worst albums they’ve ever heard, which I understand because people like to shit on horrorcore in general. Either way: I like that Wicked Season was recorded throughout the entire month of October spitting the wicked shit over a collection of horror-related samples.

Score: 4/5

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The Inner Realmz – “Beat Maker Ethics” review

California production team The Inner Realmz back for their 7th beat tape. Founded by Masta Cypher Devine & Goomson, they’ve been making waves in the west coast underground scene since the beginning of the current decade off their first 2 beat tapes SP 1000 and Build & Destroy followed by Low End Wizards as well as it’s sequel & Digital Chains. Goomson so happened to team up with Broke for a collaborative beat tape Heavy Wreck displaying Broke’s talents behind the boards for Side A & of course Goomson on Side B except for Masta Cypher Devine doing the closer. Omnipotent masterfully selected & arranged jazz samples catching my attention, coming off Mass Collide to reform & teach the world Beat Maker Ethics.

“Space & Time” spends the opening minutes drawing inspiration from 90s east coast boom bap/jazz rap reminiscent of a top 5 producer of mine Pete Rock whereas “The Math” works in an occasional vocal sample from the late Prodigy popping in & out keeping it raw. “No Destination” moves on from there fusing the traditional boom bap sound wiry elements of lounge music but once “Past Lives” swaps out the latter in favor of lo-fi hip hop, “Over & Over” ends the 1st half with another dusty 90s east coast throwback.

Kicking off the 2nd half, “Born Physical” retains the boom bap vibes with horns & a vocal sample right until letting the drums ride out while “Like This” brings somewhat of a psychedelic flare to the table whilst holding a tight grip on the ruggedness. “Nitro Fresh” kinda has an irresistible grooviness that I can’t get enough of & after “Bus Hoppin in ‘97” throws it back to the days of riding 1 bus after another 3 decades ago, “Afraid to Represent” concludes the tape with the crew’s de facto leader treading the boom bap/jazz rap waters 1 last time.

It’s cool to hear Goomson, Jon Deliz, Mike B & Ripe143 recruiting more up-&-coming producers to join The Inner Realmz because Beat Maker Ethics celebrates this new era in their career testifying the power of community & creativity by having newcomers Dexplorist, Roving Jewel, Cash Gordon, Starks, Carlskee & Gizmo help the create a rawly authentic & unique presentation of their perspectives & styles bound together by a shared passion for underground hip hop.

Score: 4/5

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