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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Novatore – “Machines” review

2nd studio LP of 2026 & the 16th overall from Chicago, Illinois emcee Novatore. Breaking out as a member of the Infamous Crew, he’s also built up an impressive solo career over nearly a decade by dropping 4 EPs & an acclaimed collaborative effort with A.M. Early Morning produced by Stu Bangas called Kingdom of Criminality & it’s recent sequel produced by Johnny Slash. Other highlights include Louie, Louie II, Embrace the Darkness, Portrait of a Madman, Embrace the Darkness II: Explorers of Experience, Master of Morbid Creations, Living in the End Times, Alchemy & Black Magic, his Goon MuSick debut The 87 Arsonist & the Brenx-produced Agoraphobia. Embrace the Darkness III became his greatest material since signing to the label, coming off Pale Horse of the Apocalypse to run it back with C-Lance on Machines.

After the intro, “Metal Hands” flows over a boom bap instrumental to kick things off talking about being the man whereas the 2nd single “Apple Pie” featuring Copywrite finds the 2 linking up so they can get in their battle rap bags lyrically. “Casket” talked about considering death a beautiful escape in a paranoid state of mind & once the title track featuring Merkules joins forces to wipe out any team threatening them, “Terminator ‘91” ends the 1st half discussing his love for horror films.

“Devil in the Pale Moon” begins the 2nd half pulling the curtain back on artists who claim murder rap when it’s nothing more than suburban rap leading into “Action Stars” featuring A.M. Early Morning talks about neither one of them needing a stunt double. “Lords of Chaos” featuring Lord Goat provides the pinnacle of hardcore hip hop for only a couple minutes while the 3rd & final single “Message from Beyond” appropriately concludes Machines talking about the end being nearer than initially believed. 

Retaining the dark tradition of Novatore’s whole sound, C-Lance runs it back with him to further reveal how much he’s evolved artistically since Louie II & the Embrace the Darkness trilogy Pale Horse of the Apocalypse in becoming my favorite of the 2 full-lengths the Chi-Town artist has dropped this year. His hardcore lyricism & C-Lance’s production have come a long way since the turn of the decade, but I was happy to see a condensed guest list.

Score: 4.5/5

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Skaiwater – “femme fatale” review

Nottingham, England, United Kingdom rapper & producer Skaiwater celebrating their birthday with their 4th studio LP. Beginning in 2019 off their debut EP After God Fear Eve, the 4ersona member would go on to put out 7 more EPs along with a mixtape & a couple albums, the most notable being their 2024 sophomore effort #Gigi under GoodTalk Records & Capitol Records fully realizing on the potential that was shown on their earlier material. wonderful was the most rage-inducing entry of their catalog & they’re ending the month giving fans what they’ve wanted for a long time: femme fatale.

The self-produced “vampires, zombies” drumlessly kicks things off confessing to their astrological girlfriend that they feel like their relationship’s beginning to move backwards whereas the single “Hitunes” blends plugg & Asian rock thanks to BenjiCold making attempts at fucking the lights outta this Texas woman. “delilah” co-produced by Internet Money Records in-house producer Nico Baran vibrantly talks about getting drunk on the weekends prior to “ella” hooking up this pitched vocal sample so they can get their girl anything she wants.

“WEVERSE” talks about him sobering up from alcohol as a result of a hangover that fucked their whole entire life up while “nana” concludes the 1st leg confronting a chick for playing them like some kinda fool. “angels” begins the 2nd half asking his baby girl if she forgot where she came from & needing her by their side because their love doesn’t go to waste just before “sophia” featuring Sophie Gray comes through with a duet about a couple feeling better around each other.

Meanwhile with “BAITFACE”, we have the tiger lily running it back with BenjiCold telling a hoe to cut off her friends & acknowledging her love for cocaine while “radar, radar” talks about having their eyes locked on this wealthy baddie in a club. “foreigner” winds down the last few moments of femme fatale flexing they’ve been rich since 19 & being with someone whose father doesn’t mind them being British over a dancehall beat while the closing track “JUMP” concludes the half hour wearing Rick Owens boots when servin’ pack.

Originally set to come out at last Christmas following the artwork being unveiled nearly 12 months ago until getting scraped in favor of wonderful back in February, I couldn’t think of a better way for Skaiwater to commemorate their day than to finish the most anticipated album of their entire career largely handling the pop rap, Afroswing, pop reggae, dancehall, zouk, coupé-décalé, trap, plugg & Asian rock production by themself other than BenjiCold & Nico Baran making some unparalleled contributions of their own expressing their appreciation for the female divine energy.

Score: 4/5

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DaeMoney – “Good N***a + Bad Habits” review

New extended play & the 3rd overall from Detroit, Michigan trap star DaeMoney. Coming up as the nephew of one of the 2 biggest artists in the city right now Babyface Ray as well as a now former member of the WRLD Tour Mafia collective, he broke out on his own by dropping his debut mixtape Young Sexual Misconduct & his debut EP Slae Season accompanied by his 2nd EP Rockstar Lifestyle & then his previous tape Slae Season 2. Slae went on to sign to EMPIRE Distribution couple summers ago & celebrated in the form of his most recent EP Slayer’s Coming fully produced by Trees shortly after as well as a 3rd installment of the Slae Season series & a sequel to Rockstar Lifestyle. He was surprisingly dismissed from WRLD Tour in 2024 due to a brief falling out until recently reconciling, coming off the 4th installment of the Slae Season saga this past February to drop Good N***a + Bad Habits.

The title track kicks things off this cloudy trap intro using auto-tune to discuss having the greatest intentions despite having some poor practices whereas “Crazy World” already hits the midway point of the EP talking about cleaning up his act, which explains why he was in the studio with both Rafa & WTM Scoob recently. “True Story” begins the 2nd half discussing him chasing his dreams & taking risks preceding the outro “Stuck in My Ways” talking about his inability of change.

Seeing him & Scoob squashing their issues with Rafa & working on new music on social media earlier this month was awesome considering all 3 of those guys were apart of WRLD Tour since Day 1 but whatever DaeMoney has planned going forward, Good N***a + Bad Habits preludes this new era with a 10 minute EP containing some of the most ear-grabbing production in Pwillvolair’s career & Slae handling the verses by himself breaking down the kind of person he is.

Score: 3.5/5

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YSL Records – “Slime Language III” review

Atlanta, Georgia record label YSL Records founded by Young Thug dropping their 3rd showcase compilation & their first since going independent. Releasing both Slime Language & it’s sequel in tandem with 300 Entertainment & Atlantic Records, the whole roster has since been revamped after Thug came home including the Tezzus as well as his Uy Scuti Bøyz cohort diamond* & more recently iyrus. However coming off The Resurrectiøn & Bling Slime this summer, Slime Language III looks to conclude the trilogy with a double disc chapter.

“Gotta Love Us” by Young Thug & diamond* featuring BSlime & Pz’ produced by Wheezy talks about laying out everyone going against them whereas “ØWAYSL” by Thug & Tezzus featuring BSlime, Rob49 & Sk8star references the greatest QB of all-time Tom Brady over a PROJECT4PLAY instrumental. “What’s Up Mami” by Thug featuring Biggs Money finds the pair hideously taking a more seductive approach in terms of subject matter while “Mob Guys” by Biggs Money, Lil Unky & Quavo talks about being gangstas.

Lil Unky sticks around with Young Thug on “Function” talking about pulling up to 10 hoes at the spot just before “Club Outside” by Thug featuring Lil Baby gets London on da Track with Southside discussing transforming the trap house into a studio since making music’s more fun anyway. “Wait for It” by BSlime & Papito El Franklins was a moment I could’ve done without delivering a boring pop rap/trap crossover talking about their success until “Eaters” by Thug & Tezzus featuring Future, Travis Scott & Yeat unites for an ode to sex.

“Grandma’s Baby” by Young Thug featuring Veeze links up so they can talk about their grandmothers’ raising them in the projects of the ATL & Detroit respectively over a sample-driven trap beat leading into “Black Friday” by Thug featuring Lito the Plug boasting that bitches love when they’re in their gangsta bags. “Myself” by Thug featuring Biggs Money talks about preferring being rich instead of not having food for a day over a Mike WiLL Made-It instrumental while “Ønly ØWay” by Tezzus featuring Skrilla quenches for blood whilst standing on business.

The Uy Scuti Bøyz accompany Young Thug for the single “Hood of Atlanta” representing their hometown over a Feardorian beat while “YSL” by Yume featuring Thug shifts towards a largely melodic direction for a trap soul duet repping their set. “Crocodile Skin” by BSlime brings a more playful aura to the table instrumentally only knowing these Ws they’re catching regardless of the average performances while “Tezzus & diamond*” by the Uy Scuti Bøyz featuring Cash Cobain & Quavo talks about all 4 artists living their lives like stoners.

“Shawty Shawty” by Young Thug featuring HittMan bogs the quality down again uneventfully calling for their goes to come to the spot & drop it for them while “Biggest Since Mike Jack” pairs Jorjiana, Lito the Plug & Sk8star talking about being the most popular Indiana celebrity since the late King of Pop when Tyrese Haliburton’s had that spot for some time. “We Dead” by Thug featuring Trippie Redd spends a couple minutes getting materialistic while “Bvlgari” by iyrus & Yung Kayo featuring Biggs Money, Lil Unky, Lito the Plug concludes Disc 1 chartering shit for 8 minutes with iyrus & Kayo each spitting the hardest verses.

iyrus & Young Thug kick off Disc 2 having Lil Unky & Pz’ joining them during the playful sounding “Believe That” talking about YSL being the hottest imprint out in the streets while “Cha Ney Ney” by Thug & the Uy Scuti Bøyz looks to go high top with the Balenciaga over a rage beat. Another single “Consummate” by Tezzus & Thug maintains the hypertrap elements talking about wanting to fuck their partners while “Tonight” by diamond* & 1300SAINT hops over an Honorable C.N.O.T.E. instrumental speaking of the team rockin’ red for an evening.

“NaNaNa” chiefly feels like a diamond* solo joint since he’s handling both the verses by himself other than Sk8star providing a few lines towards the 2nd & final one while “Say Dat” by iyrus, Young Thug & 1300SAINT talks about the trio originating in the belly of the beast. “Baddies” by Biggs Money & Cash Cobain got a chuckle outta me since it’s that bad of an attempt at going sexy drill while the 2-parter “Birthday” by Thug featuring Bay Swag & once again Cash Cobain was only a slight improvement in comparison.

Taurus gets behind the boards for “Switch Up” by Young Thug featuring BSlime talking about betrayal over some acoustics & hi-hats while “Weird” by Thug featuring Biggs Money & Lil Unky confronts individuals for acting stranger than usual around them. “Freaky Girl” by diamond* hooks up an iyrus beat that reminds me of GTA VI talking about being with a bad bitch who likes to get wild behind closed doors while “Bounce It” by Biggs Money & YKNIECE whips up a blandly redundant ass-shaker.

“Snakes on My Collar” by diamond* & the late Lil Keed was actually a profoundly bittersweet moment like having both of YSL’s past & present generations colliding while “Stole It from Us” by iyrus & the Uy Scuti Bøyz talks about people stealing their swag over a pluggy Pi’erre Bourne instrumental. “Fernando Mendoza” by Tezzus featuring Lil Unky & Sk8star shouts out the Las Vegas Raiders’ rookie QB of the same name while “Countin’ Up” by Young Thug featuring Lil Righteous talks about thumbin’ through stacks.

Tezzus & Yung Kayo have Lito the Plug joining them for the bell-woven “Skyami” boasting they kill shit similarly to a theatrical film whole “Lil Bruh” by Young Thug featuring Biggs Money talks about winding up dead if one even dares of testing them. “Losing Sleep” by diamond* & Yume goes full alternative R&B/trap soul promising to make each others’ dreams become reality while “What It Do” by Thug & his brother Unfoonk at last puts an end to Slime Language III with a conflicted country trap outro.

This Halloween will be 2 whole years since Young Thug came home & considering the amount of time he’s spent since to rebuild YSL Records now they’ve gone independent signing some of the biggest trap artists in recent memory, it gave me the impression of Slime Language III possibly surpassing both it’s predecessors to become the saga’s finest entry. There are several instances where I liked the performances & production, but it overstays it’s welcome after a bit as a result of being ridiculously bloated & would imagine myself revisiting it more if all the needless filler was removed.

Score: 2/5

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Sera Cahoone – “I’ve Missed You All These Years” review

Sera Cahoone is a 51 year old singer/songwriter from Littleton, Colorado who introduced herself 2 decades ago with an eponymous full-length studio debut. She has since been signed to Sub Pop Records, who dropped the sophomore effort Only as the Day is Long & Deer Creek Canyon to wide praise. Last time we heard from her was in 2017 when From Where I Started came out under her own label Lady Muleskinner Records. Almost a decade later & she’s returning to Sub Pop to distribute her 5th studio LP.

“High & Low” kicks things off with an Americana opener singing about a relationship that feels like a rollercoaster the way it’s constantly going up & down whereas “Say Something” combines an electric guitar with some pianos admitting she hasn’t been herself in 2026 although she would very much to try. “No One Like You” goes for a singer/songwriter vibe depicts a couple sticking together through the roughest times while “Not How I Hoped” sings about the disappointment that comes with relationships.

Meanwhile on “Horse Runnin’”, we have Sera expressions her infatuation over someone she met going for a more contemporary country direction instrumentally just before “Pulling Up Roots” reminiscent of the late Loretta Lynn sings about overcoming all the bullshit life throws at you. “Supposed to Be” comes to terms with the past taking more inspiration from singer/songwriter leading into “Hits Right” singing about the relatable feeling of being out of place amongst a group of people going Americana.

“Tangled Nights” continues the remaining moments of this album’s final act yearning for intimacy over a guitar, bass, Hammond organ & accordion while “I’m No Fool” sings about feeling uncertain towards her partner spending a few minutes getting back in her Americana for the last time. The closing track “Something Good” wraps up I’ve Missed You All These Years with this 3 & a half minute singer/songwriter outro describing an unexpected love that brings fulfillment in her life.

A lot has happened to Sera Cahoone since From Where I Started whether it be the deaths of her best friend alongside her father & dog to developing her skills as a producer, coming back to Sub Pop after feeling like an impostor during her initial tenure for the label reintroducing fans to the truest version of herself artistically. Her production solidly combines elements of blues, folk, pop, Americana, alt-country & singer/songwriter to help the world find comfort in community & rediscovering ourselves by connecting with the people we love in the midst of the storm clearing.

Score: 3.5/5

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Dave Blunts – “Ulysses” review

Davenport, Iowa by way of Salt Lake City, Utah rapper, singer/songwriter & internet personality Dave Blunts ending the month with his 17th extended play. Dropping his last 16 EPs & a few full-lengths since 2018 or so, I’ve even mentioned a couple guest appearances he made for Babytron & D. Savage on Tronicles & We Love D. Savage a couple years earlier respectively. You Can’t Say That last spring got some rightful backlash for the transphobia & dissing artists who have stronger discographies than him, coming off I’ll Believe It When I See It to celebrate his independence with Ulysses.

“Free Love” denies any incestuous relationships following Ye formerly known as Kanye West’s controversial single “Cousins”, taking a transphobic jab at KanKan & calling for the release of Puff Daddy a.k.a. P. Diddy or Diddy whereas “Easy Target” recalls almost shooting up his high school at 17. “Mirror” interpolates “Mirrors” by Justin Timberlake talking about his friend Ethan Shutak getting head & once “Solar” hatefully disses his ex, “The Plug Let Me Down” ends the EP dissing Ye again.

All 5 of these tracks were originally supposed to be included on I’ll Believe It When I See It & despite always supporting any artist getting out of their label deal, I wouldn’t be surprised whatsoever to learn if Ulysses was conceived around the same time as it’s counterpart because there are some correlations in terms of headspace. The pop rap, trap & regalia production was actually a cut above its predecessor even if Dave Blunts’ gimmicky approach to songwriting further reveals itself to either be hateful rather than “comedic”.

Score: 1/5

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Queen Herawin – “D.O.T.O.M. (Death Of The Old Me)” review

This is the 3rd studio LP from Bronx, New York emcee Queen Herawin. A member of the Juggaknots, she eventually went on to drop an EP The Space Between Things following her debut Metamorphosis & appeared on Vinnie Paz’ 5th album as above so below only a month away from the world changing forever because of the pandemic. Coming off the sophomore effort Awaken the Sleeping Giant distributed by Coalmine Records however, P.A. Dre’s being brought in to soundtrack D.O.T.O.M. (Death Of The Old Me).

After the “Into the Water” intro, “Diver” featuring Helixx C. Armageddon spends the opening 7 minutes talking about the time of alchemizing the void finally arriving whereas “Torch” featuring Breeze Brewin’ embraces a cloudy boom bap vibe instrumentally so both of them can discuss the responsibilities of the rap game not being ready to passed down yet. “Lucid Dream” blends a flute with kicks & snares asking what it really means to be alive while “Daydreaming” mellowly reflects back upon a place she used to know.

“Big O” featuring Tef Poe brings some rock undertones in the picture telling a hood romance story leading into the guitar-woven “Fever” passionately singing about 2 souls who yearn to be closer to each other. “Criminal” asks if she’s lying to herself from an opportunity of shifting towards something bigger just before “Sage” featuring Bernadette Price ends the 1st half having both ladies over a trap beat suggests sitting back & watching shit get crazy when the negative energy’s cleared.

After the “Soft” interlude, “Full Throttle” featuring King Jnus finds the pair getting the 2nd leg going hopping over a soulful trap instrumental depicting a couple nobody can fuck with while “Manifesto” featuring Ruste Juxx returns to the boom bap so they can lay out their policy statements on wax. “Together” featuring Rhymefest was unexpected considering the latter’s lack of musical activity in recent memory although I appreciated both of them talking about their immortality combined.

Unlearn the World appears on “Cook” talking about plucking the feathers outta every single one of these culture vultures prior to roasting them at the cookout while “Burn” featuring Nejma Nefertiti ruggedly speaks of having money to light on fire, which is why they even came in the first place. The closing track “Phoenix” spends the remaining minutes of D.O.T.O.M. (Death Of The Old Me) telling her late mother she doesn’t have to fight anymore.

Awaken the Sleeping Giant faced all the emotions that she had turned a blind eye to & in contrast, D.O.T.O.M. (Death Of The Old Me) embraces a new era of Queen Herawin’s career with what I consider my favorite full-length of the 3 she’s given us in a decade spotlighting this new version of herself. There’s most consistency within P.A. Dre’s production than the predecessor tackling themes of release, renewal, transformation & the beauty that can emerge in the space between letting go & becoming.

Score: 4/5

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