Lando Bando – “New Era” review

Lando Bando is a 25 year old record executive from Detroit, Michigan notable for founding The Hip Hop Lab Records & signing/managing some the biggest group in Detroit trap today the ShittyBoyz both as a trio & individually as solo acts. He also has a few solo LPs under his belt already with Don’t Let Your Bitch Hear This alongside The Hip Hop Lab & more recently I Knew This Would Happen merely 9 months ago, kicking off a New Era to end what has been an unkind 2020 to many of us.

The intro by Babytron & Icewear Vezzo pairs the 2 over a Detroit trap instrumental with some bells telling lames with no job to get a life whereas “Odd Ball” by Rio da Yung O.G. talks about not needing to show his money to prove it since he’s at a certain level of notoriety. “NBA Jam” by Babytron & GT finds both of them flexing the W streak they’ve been on lately while “Movie” by Stanwill & Talibando blends Detroit trap & jazz talking about leveling up in life.

Glockboyz Teejaee swaps out the jazzier elements in favor of Mobb music during “Him Not Them” boasting that he still be on the block instead of frontin’ over it just before “Go Inside” by Rack flips a chipmunk soul sample with some 808s thanking God for dodgin’ incarceration. “Glitch” by Babytron & Big Money Rich produced by Danny G delves into the world of crime for a few minutes leading into “Raw” by 6040 talking about how different that crew is compared to yours.

The title track by ShittyBoyz, the late Blade Icewood’s son Lil Blade & Cam Dinero unites the quintet for an 150 second collaboration representing the current generation of Detroit hip hop & after “Rocket Type” by Prince Jefe mixes some bells & rubbery bass rapping from a gangster’s perspective, “Wrong Type” by 6040 Kev Kash finds himself feeling like something’s off if he got too much time

It makes sense for the ShittyBoyz getting their own song with “RJ Always Trippin’” referencing WWE Hall of Famer, 6-time WWE world champion, WWE Intercontinental Champion, WWE United States Champion, WWE Tag Team Champion, WWE Hardcore Champion, IWGPヘビー級チャンピオン, the inaugural 6-time TNA World Champion, TNA X Division Champion & 2-time TNA World Tag Team Champion Kurt Angle

“Serious All Caps” by Babytron references 14-time WWE world champion, WWE Hall of Famer, 5-time WWE Intercontinental Champion, 3-time WWE tag team champion & current WWE COO Triple H until the outro by Prince Jefe & TillyHome ends the beginning of this new chapter with an average collaboration where I personally find Jefe’s verse to be more than Tilly’s.

In case you may not be familiar with Lando’s discography, the 4 albums he has so far including this newest one are basically their own collections of Detroit trap curations & when you take in consideration of The Hip Hop Lab’s rise in popularity this past year or 2, the most recent batch we have surpasses all 3 of it’s predecessors because it very much feels like his label will achieve wider success this decade.

Score: 3.5/5

XP the Marxman – “Make the Devil Pray” review

XP the Marxman is an MC from Los Angeles, California who came up as 1/3 of the trio Rhyme Addicts. As far as his solo career goes, the dude has a few projects under his belt already (most notably the Roc Marciano-produced Keep Firing EP that came out just this past spring). This was followed up 3 months later with Sincere Leader 2 but to cap it off, we’re being treated to another full-length effort before the year is out.

The opener “Double Bubble” talks about hustling’ over a psychedelic instrumental whereas the next song “Wave ‘Til the Grave” talks about switching his lifestyle because he needed much more over a soulful beat. After the titular skit, the track “Losses” talks about how he ain’t taking any over a laidback instrumental while the song “Zooted Shooters” talks defeating the king so he could wear the crown over a boom bap beat with some vocal harmonizing in the background.

“The Conduit” talks about those faking over a cinematic instrumental while the track “True Lies” with MALCOLMSEF sees the 2 trading back & forth with each other nonchalantly over a weepy beat. The song “Suenos” talks about living in a dream over a glistening boom bap instrumental while the penultimate track “Mi Clasa” talks about those who aren’t even on the same level as him over an unhinged beat. The closer “Still Laughin’” then gets on his gangsta shit over a drumless, symphonic instrumental from Roc Marciano.

Overall, this is a good follow-up to Sincere Leader 2. XP continues to reveal himself as one of the most hard working & consistent dudes in the west coast currently as his lyricism remains unmatched & the production choices are well picked out.

Score: 3.5/5

Playboi Carti – “Whole Lotta Red” review

This is the highly anticipated sophomore album from Atlanta, Georgia rapper, singer/songwriter & model Playboi Carti. Coming up as an affiliate of the A$AP Mob, he would break out in 2017 off his eponymous 4th mixtape under Interscope Records after his previous 3 coming out independently under his original Sir Cartier moniker & in 2018 with one of the greatest trap albums of the previous decade: Die Lit. After countless leaks & rumors, Carti is finishing off what has been a shitty year for most by releasing Whole Lotta Red.

The album kicks off with “Rockstar Made”, where Carti talks about how it’s never enough over a trap metal beat from F1LTHY of Working on Dying. The next song “Go2DaMoon” with Kanye West sees the 2 talking over a Wheezy & Outtatown instrumental some prominently dramatic string sections while the track “Stop Breathing” talks about hoes going crazy when he takes his shirt off over a distorted beat. The song “Beno!” talks about over an instrumental with some video game-like synthesizers while the track “JumpOutTheHouse” is a cacophonous moshpit starter down to the Richie Souf beat.

The song “M3tamorphosis” with KiD CuDi finds the 2 talking about how can’t nobody tell you shit over a trippy instrumental with CuDi’s trademark humming being incorporated during the hook while the track “Slay3r” talks about how everything’s good & I almost wanna say the beat kinda has an 80’s new wave feel to it. The song “No Sl33p” talks about dreaming about murder over a synth-heavy instrumental while the track “New Talk” talks about being posted with his brother over a droney beat.

The song “Teen X” with Future sees the 2 talking about being on drugs over a manic instrumental from Maaly Raw while the track “Meh” talks about fucking a bitch up over some keyboards & heavy bass. The song “Vamp Anthem” perfectly lives up to it’s name down to the organ-laced instrumental while the track “New N3on” talks about having swag for days over a more uptempo beat.

The song “Control” talks about this woman driving him insane over an instrumental kin to LUV is Rage or even Lil Uzi Vert vs. the World while the track “Punk Monk” name-drops everyone from Trippie Redd to Lil Tjay over a beat with some synths buried in the bass. The song “On That Time” talks about ridin’ around with a draco over a noisy instrumental while the track “King Vamp” talks about being a dark knight over a frenetic beat.

The song “Place” talks about over a cloudy instrumental from none other than Pi’erre Bourne while the track “Sky” is an intoxicating weed smoking anthem. The song “Over” talks about how “this love don’t feel how it felt when we started” over some infectious synth-melodies referencing 3-time WWE world champion, 5-time WWE Intercontinental Champion, WWE United States Champion, 9-time WWE tag team champion, 3-time WWE Hardcore Champion, 3-time TNA World Champion, 2-time TNA World Tag Team Champion, ROH World Tag Team Champion, HOG Tag Team Champion, ΩCW Heavyweight Champion, ΩCW New Frontiers Champion, 2-time ΩCW Tag Team Champion & The Crash Mundial Parejas Campeon Jeff Hardy while the track “ILoveUIHateU” talks about how “what you don’t know won’t hurt” over a Pi’erre beat that gives me self-titled vibes.

The song “Die4Guy” talks about loyalty over a chaotic instrumental while the penultimate track “Not PLaying” talks about how he ain’t playing games no more over a futuristic beat. The album ends with “F33l Lik3 Dyin’”, where Carti talks about his current well-being over an OPM BABI instrumental sampling “iMi” by Bon Iver & the multiple background vocalists throughout (including Justin Vernon himself) are all breathtaking.

Even though it’s not as fantastic as self-titled or Die Lit, this album was still very much worth the 859 day wait because it’s really the start of a whole new wave. Some filler cuts are thrown in here & there, but I do appreciate him experimenting a more in comparison to his previous work & has since birthed a whole brand new subgenre in trap called rage or hypertrap.

Score: 4/5

38 Spesh – “Interstate 38” review

38 Spesh is a 35 year old MC/producer from Rochester, New York known for being the leader of the Trust Army. He’s been steadily busy throughout the last few years whether it be him producing projects for the likes of Planet Asia & Elcamino or his own solo output. But to cap off 2020, Spesh is back with his 4th full-length album.

The opener “I-38” talks about how he’s just getting started over a nightly instrumental from STREETRUNNER whereas the next song “Interstate” with Che Noir finds the 2 talking about getting rich off the road together over a somewhat funky beat from Spesh himself. The track “Toll Booth” with Ransom sees the 2 talking about never switching up on the gang over an instrumental kin to Wu-Tang Forever-era RZA while the song “Stash Box” with Benny the Butcher finds the 2 on their drug dealing shit over a grand beat.

The track “Road Back” talks about treating this woman like she’s one of his over a lush instrumental while the song “Route 38” talks about how you ain’t man if you ain’t taking care of your family over a jazzy beat from Buckwild. The track “Investment Pieces” talks about not rocking ice over a luxurious instrumental provided by The Heatmakerz while the song “Money Calling” talks about wealth over a demonic beat.

“The Mule” with Dini is a lust tune with a decent instrumental & a horrendous execution while the penultimate track “Under the Table” talks about having a metaphoric relationship with his kitchen table over a drumless horn loop. The album ends with “Made It Home”, where Spesh talks about being blessed now over a soulful beat.

Even though I think A Bullet for a Heathen is his best work, this is still a dope follow-up. I like how he brought in more outside producers into the fold so he can remind listeners of his skills as a spitter too.

Score: 3.5/5

Cody Manson – “Psychoactive” review

Cody Manson is a 30 year old rapper from Cleveland, Ohio who’s been on my radar for a couple of years now. He recently signed with Lyrikal Snuff Productionz & in light of that, we’re being treated to the man’s full-length album.

The title track that kicks the album off speaks on his meaning of such over a trap metal beat whereas the next song “S.T.F.U. (Shut The Fuck Up)” takes aim at his competition over a trap instrumental with some chimes. The track “Bounce” with Bobby Krea sees the 2 getting raunchy over a rubbery beat while the song “Lucy” with Shadow & Ether finds the trio talking about losing their minds over a comatose instrumental.

The track “W.T.F. (What The Fuck?)” with The Fallen Angel & The Irishman sees the 3 talking shit over a bassy beat while the song “Slidin’” tells those to quit speaking on his name over an monstrous instrumental. The track “Tunnel Vision” talks about holding it down for his daughter on the way over a dingy beat while the song “Fast Life” talks about everyone that’s starving to make it over a nocturnal instrumental.

The track “Better Way” with Famz finds the 2 talking about their imperfections over a trap beat with some keys & heavy guitars while the song “Already Dead” gets murderous over a paranormal instrumental. The track “Kool-Aid” with M.M.M.F.D. sees the trio talking about how it ain’t safe referencing the late WWE Hall of Famer, former 6-time WWE world champion & WWE Intercontinental Champion Randy Savage over a symphonic beat while the song “Suicide Hotline” with G-Mo Skee finds the 2 talking about making rappers want to kill themselves over a thunderous instrumental & it’s rad as fuck that G shouted me out in the opening line.

The track “Step Back” with At-L@tto & the Seed of 6ix is a moshpit starter with a beat fittingly kin to Three 6 Mafia while the song “Spiral Down” with Razakel & Damien Quinn finds the 3 talking about watching one fall over a devilish instrumental. The album ends with “Lessons”, where Cody talks about those who said he’ll never make it over a tense beat.

I’m really happy to watch dude’s evolution because this album is living proof of Cody being a good fit for LSP. Even though the features can be hit or miss at times, his undeniably has a lot of energy & you can really tell he put a lot of heart into it.

Score: 3.5/5

Flawless2k – “Blackout” review

Flawless2k is an MC from Atlanta, Georgia who has been making music ever since getting out of the U.S. Army in 2017. He’s dropped a handful of singles since then, but it’s all been leading right up to his debut EP over here. The EP kicks off with “Hundun”, where Flawless2k talks about running up them checks over an airy trap instrumental.

The next song “Mind Set” talks about living in the fast life over a nondescript beat whereas the track “Ole School” talks about his whip over a lavish beat. The song “Blackout” is an andreline pumping moshpit starter from the Three 6 Mafia inspired production to the feature from former No Limit Records signee Fiend while the track “Drip” talks about the shit he be rocking over a rubbery beat from CashMoneyAP.

“Sauce” with Yung Ralph sees the 2 talking about chasing paper over an atmospheric instrumental while the track “Vibe” with Hil-Figer talks about kicking it with their ladies over a more smoother beat. The song “Address the Issue” with Yung Tookie Baby finds the 2 talking about testing their tempers over a spooky instrumental & then the closer “Gas Up” with Duddy Ken & Pastor Troy sees the trio talking about Challengers & Box Chevy over a beat that gives off that classic dirty south vibe.

Coming away from this EP, my thoughts on it are mixed. I dig the sound, but there are a handful of features slapped onto it who punch under their weight. I understand it too Blackout is the only project under Flawless2k’s belt so far & the first one doesn’t always hit. He definitely has room to evolve his artistic craft down the road & I wish him nothing but the best.

Score: 2.5/5

Flee Lord – “In the Name of Prodigy” review

Flee Lord is a 37 year old emcee from Queens, New York who came up under the wing of the late Prodigy of Mobb Deep. However in 2020 alone, he would reveal himself as one of the most consistent dudes in the underground by dropping a new project every month for the whole year. And to finish it off, Flee is enlisting Havoc to produce his 14th EP.

After the intro, the first song “Torch Carriers” with Ransom finds the 2 talking about keeping this grimy East Coast shit alive over an organ-inflicted boom bap instrumental whereas the next track “Infamous Bop” with Big Twins sees the 2 talking about being the hottest in the hood over an uncanny beat. The song “Major Distribution” with Busta Rhymes finds the 2 talking about moving coke over an instrumental with an alluring vocal sample while the track “All for the GOAT” with Conway the Machine sees the 2 shit-talking over some glorious horns.

The song “1 A.M. Music” perfectly lives up to it’s title as Flee talks about what goes down after hours over a dismal beat while the track “Wu-Lords” with Raekwon finds the 2 on the gangsta tip over an instrumental. The song “Raise the Bar” with Santana Fox sees the 2 talking about how they changed the standards over some plinky keys while the penultimate track “Mac in the Engine” with Billy V & Eto finds the trio talking about being bosses over a solemn beat. The EP ends with “Bound to Take Losses”, where Havoc himself joins Flee Lord to talk about life being a gamble over a pessimistic beat.

This has unquestionably been Flee’s most prolific year yet & what a way for him to cap it all off. I could’ve done without a couple of the features, but everyone else kills it on the mid & Havoc’s production is still top-notch almost 26 years later. Curious to hear where he & DJ Muggs take it on Rammellzee in 2021.

Score: 4/5

Shah Leezy – “The Iron Sheik Tape” review

Shah Leezy is an MC from Staten Island, New York who’s been floating around for a couple of years now. So far he has a few EPs under his belt up to this point but last month, he released his 6th EP paying tribute to WWE Hall of Famer, former WWE Champion & WWE Tag Team Champion The Iron Sheik.

The opener “Theme Music” gets on the competitive side of things lyrically over a string loop whereas the next track “Who the Fuck is Shah Leezy?” is a proper introduction to the man himself with a churchy-beat. The song “Sheik’s Shadow” talks about betrayal over some snares & an orchestral sample while the penultimate track “World Stage” advises the listener to keep dreaming over a soulful beat. The EP then finishes with “The Main Event”, where Shah speaks on being the King of the Middle East over a luxurious instrumental.

I think this is Shah’s best work to date & I can only see him going up from here. He sounds hungrier than ever lyrically & I’m not sure who did the production, but the soundscapes they bring to the table all suit him pretty well.

Score: 3.5/5

Micall Parknsun – “Back in Business” review

London, England, United Kingdom emcee/producer Micall Parknsun returning for his 2nd extended play. Making his debut under Low Life Records in 2005 describing life as The Working Class Dad, his debut mixtape The Interview would be his last offering for the label & signed to YNR Productions to release the sophomore effort 1st 2nd Time Around as well as Me, Myself & Akai. I Should’ve Done This Time Ago was ok, but his Boot Records debut Practicing Tag Team Moves at the beginning of 2017 was better & he’s looking to outdo himself now that he’s Back in Business.

The self-produced title track begins with some eerie organs melodies making it his mission to have everyone listening to him whereas “Reality” produced by DJ Jazz T & Dr. Zygote takes a grittier boom bap/rap rock route talking about being too inconsiderate. “Still Living Black” featuring Napoleon da Legend hooks up a prominent flute providing conscious lyricism regarding the system & once “Message in the Music” refuses to stomach fabricated bullshit over another woodwind instrumental, “Go Get It” ends the EP talking about getting yours over a vibraphone-inflicted beat.

Practicing Tag Team Moves was a solid introduction of what could happen for Micall Parknsun after signing to Boot Records, but Back in Business ends what’s been a tumultuous year for the entire world as a whole whopping up my favorite EP of the 2 he’s given us thus far 9 months since the COVID-19 pandemic began. He produces a good 60% of it by himself & has some of the UK hip hop scene’s most notable names to do the rest, bringing only 1 guest on board as opposed to a couple & making it count so he could handle the rest of the rhymes to himself.

Score: 4/5

Eminem – “MUSIC TO BE MURDERƎD BY 2: SIDE B” review

Eminem. Slim Shady. Marshall Mathers. B-Rabbit. The white guy from D12. What can be said now about the Detroit icon that hasn’t been said already? Especially since his first 3 major label albums The Slim Shady LP, The Marshall Mathers LP & The Eminem Show are considered by many to be the holy trinity in his discography. However, things have been quite rough for Em in the last 3-4 years. Revival was unquestionably one of the worst albums of the 2010s, which he would vent his frustration with on his last 2 full-lengths Kamikaze & Music to Be Murdered By. But after many rumors, we’re being treated to a sequel to his previous album.

After the “Alfred” intro, the first song “Black Magic” is a questionable opener about this woman having his heart in chains over a glossy beat whereas the next track “Alfred’s Theme” picks things up as Eminem reaffirms his technicality over a zany, cartoonish instrumental. My favorite line was when he said “I won’t buy a designer ’cause I don’t pander”. The song “Tone Deaf” talks about those who try to cancel him along with an awkward line about “playing Fortnite with your grandma” & a dope tribute to King Von over a funky ass beat with co-production from Luis Resto while the track “Book of Rhymes” lets loose every thought he had wrestling an iPad tablet computer developed by Apple Inc. over a generic trap instrumental with co-production from Illa da Producer & a mediocre switch-up. Also of all joints, why have DJ Premier do scratching for this?

The song “Favorite Bitch” looks back on the days when he was young & hungry over an wavy beat while the track “Guns Blazing” with Dr. Dre finds the 2 talking about being back on their bullshit just like the old days over a grand, bassy instrumental. The song “Gnat” compares his lyrics to COVID & throws a redundant MGK jab over a mellow d.a. got that dope beat while the track “Higher” compellingly talks about not knowing where to go from here over a buzzing instrumental. I liked it when Em said “Reminds me of how an overcrowded hospital waitin’ room’ll get, what I mean it’s maybe I have more patience than I’m able to admit“. The song “These Demons” talks about how funny haters are along with a clever Insane Clown Posse reference over a quasi-tropical beat & after the “Key” skit, the track “She Loves Me” talks about this women being “Carmen Electrocute” over a triumphant instrumental from Dre.

The song “Killer” talks about money over a rubbery beat while the track “Zeus” is a “Rap God” sequel backed with a depressive instrumental from T-Minus & I don’t think he’s dissing WWE Hall of Famer Snoop Dogg like a lot of people are saying because Uncle Snoop has always had nothing but love for Em. Also the Rihanna line was dope & the opening line “She says I’m trash, but listens to Tekashi” made me cringe because let’s be real: NOBODY listens to that clown in 2020. And this is coming from someone who’s never even listened to TattleTales. After the “Thus Far” interlude, the closer “Discombobulated” takes it back to the Relapse days as Eminem is rapping in accents about being just that over over a Dr. Dre beat reminiscent to the early 2000s co-produced by Black Bethoven & S1.

We all saw this coming (especially since Aftermath Entertainment’s in-house producer Dem Jointz posted the artwork on Instagram just 2-3 days before) & to be honest, I have to put it right behind it’s predecessor that came out right at the beginning of 2020 couple months before it all went to shit. Nothing that’s gonna change my year-end lists but the production has improved whereas lyrically, Eminem is focusing less on the backlash Revival justifiably received & it also fits the whole Hitchcock theme as much as previously.

Score: 3.5/5