DJ Clay – “Let ‘Em Bleed 5” review

This is the 9th mixtape from Detroit, Michigan emcee, producer & turntablist DJ Clay. Being an in-house producer for Psychopathic Records for 2 decades already, he would also start up his own label Armed Robbery Entertainment in addition to putting out his last 8 tapes & the 2019 full-length debut Over the Fear Of…. However, the DJ for the Juggalo Championship Wrestling (JCW) hit YouTube show JCW Lunacy has finally returned ahead of a sophomore effort for the long-awaited 5th installment of the Let ‘Em Bleed series.

After the EDM intro, “Man of the Year” begins with a Clay solo track getting boastful over a vocal sample & some horns whereas “Chop ‘Em Up” by Ouija Macc hops over a trap instrumental produced by DeadBoyGrim & DJ Clay to spit the wicced shit. “After the “Yoo-Da” skit, “Dumbazz” by Bailz & Shaggy 2 Dope finds the 2 comedically poking fun at all the dumbasses while “Skrrt Skrrt (Juggalo Phonk)” by Shaggytheairhead finds the latter putting a juggalo spin on the phonk subgenre.

“Willis” brings Clay back on the mic for a trap-tinged single that we got summer responding to those claimin’ to be the man while “Party Like Us” by Lardi B kicks off the 2nd half with a decent club anthem. “Hurt You” by Shaggy 2 Dope hooks up some pianos & hi-hats addressing an individual whom the Southwest Strangla can’t get enough of leading into “Shiny Shit” by Tierre Diaz confidently giving fans what they want musically.

Violent J returns for a “Duke of the Wicked” sequel reminding everyone why the JCW Commissioner & 50% owner alongside former WWE, WCW & TNA writer and former WCW World Heavyweight Champion Vince Russo earned himself that nickname to begin with while “The Darth Fader Cut” dabbles with turntablism with the help of DJ Chunk for 110 seconds. “The Father, The Son & The Holy Spirit” marks the last DJ Clay solo joint calling to let the feelings we don’t know free from our souls while “Sorry for the Wait” by the Odd Squad Family ends with an apology for Let ‘Em Bleed 5’s delay.

I knew it was gonna be different since some of the former Psychopathic alumni who appeared on all 4 of the previous entries of the Let ‘Em Bleed saga had their ties to the Clowns severed for almost a decade, but it’s alright because Let ‘Em Bleed 5 continues the series strong showcasing where the hatchet’s been at currently with both of it’s co-founders & the CEO of it’s Chapter 17 Records subsidiary all contributing in addition to A•R signee Tierre Diaz & a couple affiliates like the Odd Squad Family or Lardi B who’ve all performed at previous Gatherings.

Score: 4/5

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Cashus King – “Water to Wine” review

Here is the brand new studio LP & 13th overall from Los Angeles, California emcee Cashus King. Originally known under the monikers Co$$ & later Ca$hiu$ King until settling on his current name, most will recognize him for his long-standing affiliation with Blu & Exile in addition to him having 6 extended plays & 7 mixtapes aside from the previous dozen of full-lengths in his solo discography. 3 years have already passed since Lava Lamps & the London, England, United Kingdom producer Big O has been brought in to soundtrack a Water to Wine transformation.

After the “Barry Water” intro, “Likwid (Big Fish)” begins with this angelic boom bap opener talking about how both of them been floating through districts whereas “Precipitation” featuring Fashawn embraces a jazzier vibe instrumentally to spit streams of consciousness. “Cherry Cola” featuring L.O.U. & P-Rawb samples “Shake Your Booty” by Bunny Sigler to use it’s title as a metaphor for drinking water over soda prior to “Streams” featuring Blu, Frannie EL & Shari returning to a conscious approach to the lyrics.

“Drownin’” has a bright boom bap quality to it encouraging all to keep swimming forward when life throws you overboard just before “Hydration (Reign)” ends the 1st half talks about watering the plants of our imagination & tells the world to keep dreaming. “Drippin’ (Soakin’ Poems)” works in some synths so we can hear the Heaven in their skills to start the 2nd leg while “Potions” featuring G-Holy stylistically leans towards a more g-funk direction getting on their west coast shit.

Nearing the end of Water to Wine, the song “Swimmin’” brings a triumphant trap flare to the table talking about doing backstrokes while “Holy Water” hooks up some organs to make room for Cashus to get confessional on the mic. “Like Lava for Water” apologizes for having people fight their wars for the days they came up short & after “Dark Agua” featuring Big Tone offers food for thought, the outro “Wine” ends by asking who or what we’re living for.

Many including myself would consider Before I Awoke to be Cashus King’s finest collection of solo material, but this new one isn’t far behind it assuring the world we all have the ability to turn Water to Wine in the metaphorical sense of everyone having the capability of change. Big O cooks up some of the strongest production of his career & Co$$ lyrically takes audiences through an exploration of transformation at its deepest level with a handful of guests.

Score: 3.5/5

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Krispylife Kidd – “Krisp Flair” review

Flint, Michigan rapper Krispylife Kidd is back with his 16th mixtape. Since 2019, his popularity in the local trap scene has been gradually increasing since 2019 going on to release a total of his previous 15 tapes & 4 EPs all in that span of time. Icewear Vezzo even signed him to Iced Up Records during the pandemic & Lil Yachty had him featured on Michigan Boy Boat. Now I’d start with Krispylife 2 & The Art of Spice Talk trilogy if you wanna dive into Krispylife’s music, although Juice& B.A.G. (Born A Goat) each had their own individual standouts a couple years ago. Coming off the Stunt Life EP & Why Me Worry? however, Krisp Flair has arrived following some delays.

“My Old Self” opens with a Flint sound intro talking about still being the same if he was hypothetically down to $2 whereas “Who U Talking To?” fires shots at all these shrimp ass cornballs trying to diss him. “My Time to Shyne” featuring Detwan Love was one of the weaker moments due to their melodic performances despite the messaging while “Walking in the Park” confidently talks about him only getting started.

We have Krispylife offering some “Self Motivation” to end the 1st half of Krisp Flair & an instrumental that tries to tug at the heartstrings a bit while “No New Members” featuring Clean Up Man made for a Detroit trap collaboration that wasn’t any better than the one earlier. The freestyle spends a minute & a half going off the dome over a woozy beat while “Do This Go Right?” talks about his feet aching from running up checks.

“Realest You Ever Met” winds down the last leg of the tape fusing pop rap & trap for north him & the woman that he’s been romantically involved with to realize that they were essentially made for each other but once “Talking Loose” switches back to an aggressive tone recklessly running his mouth like he used to do when he initially began making music, the outro “Do You FWM?” spends the last couple minutes telling his lover what about her he fucks with the most.

2-time WWE Hall of Famer, former 16-time WWE world champion, WWE Intercontinental Champion, 6-time WWE United States Champion, 6-time WWE tag team champion & 9-time NWA World’s Heavyweight Champion Ric Flair made himself the greatest shit-talker in the whole professional wrestling business & Krisp Flair improves above his previous mixtape last spring sending shots for nearly a half hour with no guest appearances.

Score: 4/5

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Protect – “slimedude2003” review

This is the debut extended play from Buffalo, New York rapper Protect. Introducing himself to the trap & plugg subgenres of hip hop by releasing his full-length debut All on Me followed by the sophomore effort albeit major label debut Ball Hog of Life under Atlantic Records a couple years earlier, his previous LP 500 Days of Summer last August was my introduction to him & remains his strongest collection of material today. 10 months later, he’s dropping off slimedude2003.

“RAF Trench” starts us off with a plugg instrumental talking about shooting as if he’s Cade Cunningham whereas “Firearm” cloudily admits to constantly pouring lean like he’s awaiting his own death. “0s” could be a weaker moment here since he’s pretty much sandwiching an unacceptably underwritten verse in the middle of a chorus, but then “Makatussin” continues to express the love he has for consuming cough syrup over a bubbly beat from R8 of Vanguard Music Group

As for “Whole Crowd”, we have Protect talking about getting concertgoers turnt soon as he he hits the stage prior to the plugg-influenced “RE4 referencing one of my all-time favorite video games Resident Evil 4 & dissing N3on for seeking attention online. “What Doesn’t Kill U” begins the 2nd half talking about sending out convoys over a synth-driven trap beat just before “Reset” confesses to feeling overwhelmed by a handful of things.

“AC130” gets slimedude2003’s last let going talking about making opps bleed soon as he catches them while “Sk8r” samples “believe me” alyorra discussing the importance of finding yourself & getting it together. The highlight “Last of Us” produced by Cade makes a nod to another all-time favorite video game of mine & the outro “U da 1” finishes the EP with 1 last motivational anthem about the audience making an impact too by doing it.

500 Days of Summer stands tall as the most refined musical statement of Protect’s career & although I do acknowledge that slimedude2003 was meant to be a collection of “grails”, I felt that the final production turned out to be pretty average compared to his previous LP. You can definitely tell these were recorded sometime before or after All on Me & Ball Hog for Life when he was getting his footing in even if I wouldn’t call it some of my favorite material he’s done outside a couple joints.

Score: 3/5

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ApolloRed1 – “Demon Heart Radio” review

Atlanta, Georgia rapper ApolloRed1 releasing his debut mixtape under Opium Records & Interscope Records. Starting out a couple years ago off his full-length debut The Summer I Turned Red, his first few extended plays Villain as well as Vamp Diary & Tantrum were enough to have his blood cousin Playboi Carti make him the newest member of the Opium roster by dropping a Midnight Blassic. ApolloRed1 vs. the World in October continued to make some more artistic improvements & Demon Heart Radio has finally arrived after months of delays.

“#Demon” produced by Cardo made for an entertaining single that came out last weekend addressing someone he facilitated all his love for whereas “Where I’m @“ works in some heavy 808s from Bakkwoods admitting that he’s so high off the drugs that he doesn’t know his exact location. “Pink!” hops over an Ayelavish! instrumental I really enjoyed talking about pulling his Glock out like it’s a shiv while “#SRT” pulls from plugg courtesy of SOULJASPIRITS likening himself to Deadpool.

Trgc gets behind the boards for the EDM-inspired “More Time” talking about the only thing he wants is to be with this woman more just before “Love You > Myself” gives off a more hyper tone altogether pondering what to do when the drugs won’t help & speaking of someone he loves more than himself over a rage beat from Clayco & OPM BABI. “Shell” maintains the hypertrap vibes instrumentally depicting imagery of the gangsta life until putting dollar signs “OnYoHead!” over a sinister Bugz Ronin beat.

“Codeine Shower” featuring Destroy Lonely finds the 2 reuniting to end the 1st half of Demon Heart Radio talking about treating drugs like probiotics while “Can’t Go” runs it back over another Ayelavish! instrumental for a couple minutes or so assuring that shit being real life to him. “Caution” has a playful rage aura to it catching those speaking ill on his name on offense while “Geeked Up” featuring OsamaSon talks about both of them seeing red.

We have ApolloRed on the rage-inducing “ARP My Bitch” likening his AR-15 pistol to romantic lover & after “Drive u” embraces more of a pluggier sound thanks to F1LTHY of Working on Dying to talk about him being on top of the hill of the Atlanta scene with the rest of his Opium squad, “Tight Pants” featuring the Homixide Gang joins forces to express their disdain for those fuckin’ with rats & justifiably refusing to trust anyone who does.

“Pullup##” winds down the last few moments of Demon Heart Radio turning up the hypertrap elements courtesy of Ayelavish! talking about going crazy soon as he hits the stage while “Hood-Made” explains that the streets made him the person he is today over an instrumental Zodiac of Vanguard Music Group made. The outro “Set You Free” sends off Apollo’s major label debut suggesting he might let go of an ex if they weren’t meant for each other.

Midnight Blassic & ApolloRed1 vs. the World have both proven that ApolloRed1 could potentially be the most underrated signing on the Opium roster considering both of those were big step-ups from his earlier output, but his major label debut Demon Heart Radio tops both of those in unveiling a tape packed with the highest quality of rage & plugg music I could’ve expected from him. Whether it’s the consistently fun production or the guests & Apollo himself, the latter’s making it known that he’s arrived.

Score: 4/5

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Vince Staples – “Cry Baby” review

Here we have the 6th studio LP & Loma Vista Recordings debut from Compton, California rapper, singer/songwriter & actor Vince Staples Emerging as a close affiliate of the now defunct Odd Future collective, he would go on to release 4 mixtapes before signing a joint deal with Blacksmith Records & even No I.D.’s very own Def Jam Recordings imprint ARTium Recordings. My personal favorite of which being Stolen Youth, which was entirely produced by the late Mac Miller. His first major label outing Hell Can Wait was a dope little EP preluding the full-length debut Summertime ‘06, which became one of the best double disc albums of the previous decade. Vince later detailed the pitfalls that came with his success on the next EP Prima Donna & the dude’s sophomore effort Big Fish Theory was easily his most experimental work yet. He later teamed up with Kenny Beats for his 3rd EP FM! & his eponymous 3rd album but coming off Ramona Park Broke My Heart & some Dark Times, he’s ready to air out a Cry Baby.

The lead single “Blackberry Marmalade” blends conscious hip hop, post-punk, political hip hop, post-punk revival, rap rock, hardcore hip hop & experimental hip hop to talk about racism in the United States whereas “Go! Go! Gorilla” takes a funkier approach instrumentally explaining that the police have always been the strongest enemy African Americans have always had & having nobody to trust because of crooked cops abusing their power.

“White Flag” combines political hip hop, conscious hip hop, neo-soul, blues rock, rap rock, dub & post-punk for the 2nd single declaring his surrender of patience towards putting up with white supremacy just before “The Running Man” embraces more of a punk rap vibe talking about missing the days he used to aspire along with leaving his baggage behind since he didn’t feel like there was anything worthy of bringing & nobody being safe from the war that’s occurring outside.

Reaching the halfway point, “TV Guide” discusses the way television has been controlling the masses & them assuming everything they see on the news to be true prior to “The Big Bad Wolf” kicking off the 2nd half embracing a funk rock sound talking about a police officer shooting at an innocent bystander based on the color of his skin. “Only in America” once more takes a jab at the systematic racism & admits he’s been in search of a breakthrough after being hurt since last spring.

“Do You Know the Devil?” winds down the last moments of Cry Baby asking if one will find God or fall from grace life when gets hard & death gets way too close for one to be comfortable while the 3rd & final single “Cotton” crosses over elements of funk rock, psychedelic rock & conscious hip hop talking about black people’s stories of survival being exploited for money. “7 in the Morning” finishes the album channeling a more militant mindset pondering why some view the death of his people as entertainment.

It should go without saying that Vince Staples’ independent debut Cry Baby will easily become the most politically charged entry of his discography since the Hell Can Wait EP back when I was senior in high school, joining the likes of Summertime ‘06 & Big Fish Theory for a top 3 spot in his discography. The production is a rebellious melting pot of rap rock, funk rock, conscious hip hop, post-punk, post-punk revival, rap rock, hardcore hip hop, experimental hip hop, psychedelic rock, neo-soul, blues rock & dub music expressing the frustration of the rise of fascism.

Score: 4.5/5

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Navy Blue – “Sir Render” review

This is the 9th studio LP from Brooklyn, New York skateboarder, MC, producer, songwriter, visual artist & model Navy Blue. Breaking out a decade ago off his debut EP According to the Waterbearer, he would go on to drop 9 more EPs & 6 full-lengths preceding the Def Jam Recordings-backed Ways of Knowing produced by Budgie to critical acclaim. Coming off the Memoirs in Armour EP along with The Sword & The Soaring however, he’s refusing to slow down giving us Sir Render almost 7 months later.

“Commencement” opens up with this drumless intro talking about capsizing & turning his life over to God afterwards whereas “Baron” produced by The Alchemist embraces a boom bap vibe instrumentally hitting us with more poetically abstract penmanship. The title track strips the drums once again talking about there being lessons in every move made while “Over” featuring Mike Shabb finds the pair bringing their A-game over a heavenly drumless loop from Shabbo himself, who kicks off that song with his verse.

We get some bare pianos explaining that his “Reflections” are the evidence of God he chose to revel in & talking about how he used to be suicidal while the self-produced “Residuum” featuring Armand Hammer joins forces for a symphonic boom bap heater filled with abstract lyricism that’ve defined each of them firing off 3 deadly verses. “Crux Ansata” drumlessly talks about his broken wings needing to heal while “Belladonna” featuring Earl Sweatshirt boasts of their successes over a somberly dusty Uncle Al beat.

“Aegis” continues the 2nd half of Sir Render remembering when he was 5 looking at his older brother’s casket asking himself whether he’ll wither or ride above it & be what fills the void in his dad’s eyes over a subdued instrumental & after “Circa” featuring the late Ka talks about being healed when we no longer hear from them despite still being here spiritually, “If God Had Legs” brings the keys back in effect describing him overcoming Ka’s sudden death a year & a half ago.

To get the album’s final act going, “Next Life” hops over yet another drumless loops talking about letting the tree falling & his exposing his roots while “The Birth of Medicine” discusses him praying for the transpiration of his grief along with the assurance of who he is isn’t who he’s perceived to be. “Bleeding Scarlet” offers a calmer atmosphere with a powerful verse to begin & the other half serving as more of an outro while “F.E.A.R. (Forgetting Everything And Running)” explains what fear is to him.

Sir Render makes for a satisfying conclusion to Navy Blue’s knighthood trilogy in which Memoirs in Armour began and The Sword & The Soaring bridged, picking up where both it’s predecessors left off & landing right behind the latter to become my 2nd favorite installment of this entire arc. Maybe surpassing it even. The production’s mostly drumless & jazzy like its counterparts other than a couple occasional moments, enlisting some of abstract hip hop’s finest past & present to make people grapple with their previous selves.

Score: 4.5/5

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730atMorning – “1 Man Band” review

Minneapolis, Minnesota rapper 730atMorning preluding Context with his 2nd mixtape. Someone who would drop 3 extended plays in 2022 including Pots*, untitled & Hi, I’m Alive. He would later follow it up with the Creeper EP, the 7:30* EP, the full-length debut Asphalt, the Guarded EP, the sophomore effort albeit Virgin Music debut Under the Bridge, the Rotten Fruit EP, his previous full-length Save Your Grievance, the almost inside EP & the Insiders tape. Last we heard from him was the I Can’t STFU EP last Halloween & 1 Man Band’s offering a preview of the new era over a month after Tiffany Stratton ended ジュリア’s record-tying 2nd reign as WWE Women’s United States Champion.

After the compositional “Withered” intro, the opener “Graye” featuring Lerado Khalil begins with them talking about the fuck shaping them to the people they are presently whereas “Clouds n Rain” channels a pluggier vibe instrumentally pleading not to tempt him. “40MGs” produced by LulRose might be my favorite track here talks about trying to get back with a woman who kept putting up a fight while “My Favorite Part” splits itself into halves detailing a woman who doesn’t miss him back.

“Sequence of Events” embraces a cloudier sound altogether talking about being in charge & making the rules since he doesn’t have any corny bullshit in his life but after “God Still Take Me” talks about paying for all his sins as well as him praying for the Higher Power to take him to the afterlife, “Lost the Plot” incorporates some icy synths to talk about finding love in Los Angeles with his homies & being here today because of his hard headedness.

The track “Interesting Character” nears further towards the conclusion of 1 Man Band explaining that he doesn’t need shit from this individual since they told him to die & him reasonably taking that to heart while the final song “Body” preceding the “Repulsive” outro expresses the desire he has of giving this individual what they need even if they gotta go how he wants them to & not keeping up with his own flexes.

1 Man Band warms us up for Context with the most densest entry in 730atMorning’s entire discography & gives me confidence of this next project coming down the pipe maintaining this momentous run he’s been on since last fall. The tape’s trap production takes its secondary influences more from cloud rap, plugg, witch house & wave rather than capitalizing on I Can’t STFU’s rage, free car music, jerk & new jazz undertones & I found the inclusion of guests to be a refreshing move compared to the predecessor’s lack of features.

Score: 4/5

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Converge – “Hum of Hurt” review

This is the 12th studio LP from Salem, Massachusetts metalcore band Converge consisting of drummer Ben Koller, bassist Nate Newton, guitarist Kurt Ballou and finally frontman & Deathwish Inc. co-founder Jacob Bannon. Although their 1994 full-length debut Halo in a Haystack was moderately received, nearly everything they’ve done since has cemented them as quite possibly the greatest metallic hardcore band of all-time. Petitioning the Empty Sky, When Forever Comes Crashing, my personal favorite Jane Doe, their Epitaph Records debut You Fail Me, No Heroes, Axe to Fall, All We Love We Leave Behind when I was a sophomore in high school, The Dusk in Us & Love Is Not Enough have all been widely praised for the own individual reasons & are back with Hum of Hurt.

“Slip the Noose” begins with a metalcore intro reminiscent of the Jane Doe era directly tackling generational trauma whereas “Doom in Bloom”combines post-hardcore & sludge metal exploring how Jacob’s middle-aged introspection doesn’t always bring a brighter light. “It Only Gets Worse” spends a couple minutes angrily realizing the world’s indifference towards him & after the intimidating “Detonator” encourages one not to be blown apart by their mistakes, “I Won’t Let You Go” ends the 1st leg with the official Cyberpunk 2077theme.

Kicking off the 2nd half, “It’s Not Up to Us” made for another aggressive moment explaining there’s no end in sight without a will to fight while the doomy “Dream Debris” starts with a simple bass note that builds to a booming crescendo detailing the deception of being led to believe we could be anything we wanted to be. The post-hardcore, metalcore, neocrust & post-metal title track after the “It Used to Matter” composition emotionally examines the price of the lives we pursue & the outro “Nothing’s Over” ends on a sludgier note saying we must rage for the dying light.

Love Is Not Enough made for a great comeback for the greatest metalcore band & following a sense of urgency, Converge have outdone themselves by delivering a raw counterpart retaining the unpredictable potency of their last album. Their signature sound’s still being fused with elements of mathcore & sludge metal similarly to it’s predecessor aside from the hardcore punk undertones being swapped out for post-hardcore for another bleak yet empathetic assessment of the human condition & it’s ongoing deterioration.

Score: 4.5/5

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Slift – “Fantasia” review

Slift is a heavy psych trio from Toulouse, Occitanie, France consisting of guitarist/vocalist Jean Fossat, bassist/vocalist Rémi Fossat & drummer Canek Flores. Emerging in 2017 off the band’s debut extended play Space is the Key as well as their 2018 full-length debut La Planète Inexplorée & the widely praised 2020 sophomore effort Ummon, they returned 4 years later by dropping an equally celebrated Sub Pop Records debut Ilion & are looking to outdo both of those with their 4th studio LP.

The title track opens up with an epic 9 minute intro taking some inspiration from doom metal signing about rising above our pain & finding a fire for our souls whereas “Corrupted Sky” describes a fictional town plagued by a sense of xenophobic unknowing. “The Village” continues the story finding this bigoted city welcoming an outsider like poison over progressive instrumentation just before the lead single “A Storm of Wings” blends stoner metal, progressive rock & heavy psych so our protagonist can depict the town’s downfall.

“Orbius Tertius” kicks off the 2nd half taking heavy inspiration from the late Jorge Louis Borges’ short story of the same name using idealism to ask a multitude of questions while “Waiting Man” feels like a mix of Pink Floyd & Masters of Reality-era Black Sabbath, realizing the world our hero was committed to was a lie. The 2nd & final single “The Day of Execution” again bases itself in the styles of stoner metal, progressive rock & heavy psych singing about time passing all of us prior to “Secret Mirror” sending off Fantasia with an astounding space rock outro.

Ditching the sci-fi narrative of their Sub Pop debut a couple years earlier, Slift’s follow-up ironically bares it’s name after a description of the band’s previous output for their leanest statement yet improving above Ilion & dethroning Ummon for their magnum opus. The production captures their versatility eclectically varying between space rock, stoner rock, stoner metal, heavy psych, post-metal, progressive rock, progressive metal, post-rock, doom metal & post-hardcore for a tale of overcoming international upheaval.

Score: 4.5/5

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