Boondox – “Krimson Crow” review

This is the 6th full-length album from Covington, Georgia’s very own Boondox. Coming onto the scene in the Early 2000s under the moniker Turncoat Dirty, it wouldn’t be until 2005 where the Insane Clown Posse signed him to Psychopathic Records & was reinvented into the killer scarecrow he is today. He would leave the label a decade later to form his own imprint Crimson Krow Entertainment after a decade, then reunited with Twiztid & signed to Majik Ninja Entertainment the following year. Last we heard from Boondox in a full-length capacity was in spring 2017 when he dropped The Murder but after being led up by a couple of EPs, we’re finally being treated to Krimson Crow.

The album kicks off with “Red Clay Crazy”, where Boondox teams up with Rittz to talk about having no mercy over a cacophonous beat from MIKE SUMMERS a.k.a. 7. The next song “Forgiven” ponders how shit got out of hand over a twangy instrumental whereas the track while the track “Get It In” gets murderous over a heavy trap beat from Nobe. The song “Reimagine” talks about wanting a better life over a guitar & some piano chords while “The Devil’s Strings” talks about saying a prayer for misery over a blobby beat.

The song “Born to Lose” lyrically needs no further explanation as Boondox & Blaze Ya Dead Homie rip it over a rap rock instrumental from Stir Crazy while the track “Talk to Spirits” talks about drinking over a country rap beat. The song “Red October” with Bukshot finds the duo on the horrorcore tip over a ghostly trap instrumental while the track “Wild Horses” talks about letting go his piece of mind over another country beat from Fritz the Cat. The song “Soul to Take” talks about feeling like he lost his way over a desolate piano instrumental while the track “K7-Lethal” talks about being the devil over an apocalyptic beat from C-Lance.

The song “Broken, Never Shattered” with Redd sees the 2 talking about how none of this is a mystery to them over a melancholic instrumental while the track “Over Thinking” talks about paranoia over a spooky trap beat. The song “Demons at My Door” talks about how he can’t hide from the person he’s become over a dark trap instrumental & then the album ends with “Self Destruction”, where Boondox & Jamie Madrox talk about being their own worst enemies over a bleak beat.

Boondox really outdid himself on here as much of a great MNE debut that The Murder was & now Krimson Crow has quickly surpassed he predecessor as the best full-length LP that he’s put out since departing Psychopathic. The lyrics are at it’s darkest, the production hones it all in together & the features compliment the feeling of each song well.

Score: 4/5

Heem – “Long Story Short” review

Heem is a 27 year old MC from Buffalo, New York who caught my attention earlier this year after becoming of a protege of Benny the Butcher & signing to his E1 Music imprint Black Soprano Family Records. He also made a few appearances on the label’s showcase EP that dropped over the summer but just a few more weeks until 2021, here we are with his debut mixtape.

The intro talks about how no one living like him over a dreary instrumental from Ice Rocks whereas the next song “All Eyes on Me” talks about wanting his roses before he’s gone over a symphonic boom bap beat from the late DJ Shay. “The Realest” with Benny sees the 2 talking about keeping it 100 over a hypnotic vocal sample while the track “Mayhem” with Boldy James finds the 2 talking about how they don’t play over a lush beat.

The song “More Money More Problems” talks about risking his life for this over a comatose instrumental while the track “Menace to Society” talks about going through Hell & back over a grimy beat from TrickyTrippz. The song “Sacred Nights” gets murderous over a cinematic instrumental while the track “It Could Happen” with Benny & Rick Hyde sees the trio pondering a number of things over a boom bap beat with a piano loop.

The song “My Diary” gives the listeners a piece of him over a exuberant instrumental from DJ Green Lantern while the penultimate track “Warring Ave” talks about what it was like on his street over a deranged beat. The tape ends with “Letter to Shay”, where Heem pays tribute to DJ Shay over a churchy boom bap instrumental.

Coming away from this tape, I’m pretty impressed with it. The production leans towards that signature Griselda sound, but you get a good look at who Heem is & where he’s at now. This is only the beginning for him if you ask me.

Score: 3.5/5

Madchild – “The Little Monster LP” review

Madchild is a 45 year old MC from Vancouver, British Columbia, Canada most notable for being a part of the well regarded trio Swollen Members. He also has 5 solo albums, with the previous one being the Suburban Noize-backed Demons. However just a year & a half later, Madchild is back with his 6th full-length effort.

The album kicks off with “Narcos”, where Madchild talks about studio gangsters over a rubbery trap beat. The next song “I Was on Drugs” talks about his addiction over an instrumental with some plinky keys while the track “Silver Surfer” talks about being explosive over a grimy boom bap beat from C-Lance. The song “Pallbearer” gets on the battle bar tip over a chaotic instrumental while the track “Structural Damage” talks about having mob ties over a quirky trap beat.

The song “Demons in Human Form” talks about cops over murky instrumental while the track “Hard Headed” talks about how violent-minded he is over a gloomy beat. The song “G.F.Y. (Go Fuck Yourself)” is a middle finger anthem backed by an evil instrumental while the track “Run It Up” talks about remembering his enemies over an abrasively dark trap beat.

The song “Fucdat” talks about never folding up over a Middle Eastern-inflicted trap instrumental while the track “Pale Horse” talks about time no longer being on his side. The song “Curb Stomper” with Jimmy Donn sees the 2 talking about being out of their minds over a funereal instrumental & then the closer “Sleeping Bear” is Madchild comparing himself to such over an old school beat.

Even though dude is a veteran in the underground, this album is just average to me. Madchild is definitely spitting harder than ever before, but most of these joints are really short running at 2 minutes & the production is hit or miss. Still very much looking forward to his upcoming collab album with Obnoxious set to drop next year though.

Score: 3/5

Rigz – “Substance Abuse” review

Rigz is a 30 year old MC from Rochester, New York who came up as a member of Da Cloth. He’s put out a few EPs & mixtapes throughout the last 3 years (with the most notable being Roach Gutta Slums) but just a week after Mooch dropped his new album Da 5th Power, Rigz is enlisting Futurewave of Brown Bag Money for his full-length debut.

After the spoken word intro “Basura”, the first song “Sheridan Grapes” talks about those who’re scared of him over a demented instrumental while the track “Halfway Into da Future” with Asun Eastwood sees the 2 giving insight to loose-lipped talkers over a grim boom bap beat. The song “Dream” with Mooch finds the 2 talking about getting out of the ghetto over an instrumental that I can picture hearing in a mobster movie or something while the track “Bodies Behind Mojoes” talks about hustling over a nightly beat.

The song “Study da Champ” with Daniel Son, Mooch & Vinnie Paz is a complete barfest backed by over an eerie boom bap instrumental while the track “Balance It” trusting half of what you see & less of what you hear over a lavish beat. The song “Buckshot BB” with Rob Gates sees the 2 trading back & forth with each other over while the track “Melting Pot” talks about fucked up shit going on in the hood over forlorn boom bap beat.

The song “Picture Yourself” ponders how the listeners imagines oneself over a symphonic instrumental while the track “Top Student” with Times Change finds the 2 making a number of education references over a paranormal beat. The song “Brake Lights” talks about how that’s the last thing you gon’ see over a mournful instrumental & then the closer “Embers” gets introspective over a jazzy beat.

Rigz really outdid himself on this one & I’ll even say it’s one of the best albums that I’ve heard all year. Some of his most well-written bars ever pop up on here & Futurewave’s sound compliments him damn near perfectly.

Score: 4.5/5

KiD CuDi – “Man on the Moon III: The Chosen” review

KiD CuDi is a 36 year old rapper, singer/songwriter, producer & actor from Cleveland, Ohio who blew up in 2008 off his debut mixtape A KiD Named CuDi as well as his songwriting credits on his mentor Kanye West’s 4th album 808s & Heartbreak. This was followed up with his groundbreaking debut & sophomore albums Man on the Moon: The End of the Day & Man on the Moon II: The Legend of Mr. Rager the next year & the year after that respectively but then 3 years later, CuDi would leave G.O.O.D. Music amicably to form his own Republic Records imprint Wicked Awesome Records after releasing the self-produced & overlooked Indicud. However, I found Satellite Flight: The Journey to Mother Moon to be mediocre at best & who could forget when CuDi attempted to go alt-rock on the critically panned Speedin’ Bullet 2 Heaven? Luckily he would redeem himself on his previous effort Passion, Pain & Demon Slayin’ in 2016 along with the eponymous debut album from him & Kanye as the duo Kids See Ghosts a couple summers back. But after a couple of loose singles throughout this year, KiD CuDi is ready to finally close out the Man on the Moon trilogy on his 7th full-length album.

After the “Beautiful Trip” intro, the first song “Tequila Shots” talks about internal conflict over a psychedelic trap instrumental from Dot da Genius & Take a Daytrip whereas the following track “Another Day” talks about how ain’t much changed in him over a spacious beat. The song “She Knows This” gets sexual over a voluptuous FNZ instrumental while the track “Dive” talks about a sadness in him over a cavernous beat from none other than Kevin Parker.

The song “Damaged” talks about being a broken man over a befuddled instrumental while the track “Heaven on Earth” talks about living alright over a nocturnal, bass-heavy beat. The song “Show Out” with Skepta sees the 2 flexin’ over a rubbery instrumental while the track “Mr. Solo Dolo, Pt. III” talks about somethin’ twisting him over a cloudy beat from Plain Pat & WZRD.

The song “Sad People” pays tribute to everyone out there who’s depressed over a glitzy instrumental while the track “Elsie’s Baby Boy (Flashback)” looks back on his childhood over a rock-flavored beat. The song “Sept. 16th” talks about searching for love over an instrumental with some wavy synths while “The Void” talks about falling in an abyss over a downcast beat from Mike Dean & WZRD.

The track “Lovin’ Me” is a gorgeous duet with Phoebe Bridgers about self love down the euphoric instrumental while “The Pale Moonlight” talks about people who think they know him over a vibrant beat. The song “Rockstar Knights” with Trippie Redd finds the 2 talking about the luxurious lifestyles they live over a ghostly trap instrumental while the penultimate track “4 da Kidz” is a dedication to the chosen few over a fiery beat. The album ends with “Lord I Know”, where CuDi talks about being a warrior over an atmospheric instrumental.

I didn’t think this day would actually come, but I’m sure as Hell glad that it did because it’s a great finisher to the trilogy that got KiD CuDi where he is currently. You can definitely hear the Travis Scott influence but simultaneously, he does a phenomenal job at recapturing the vibes of his first 2 albums from the sounds provided by the original producers of those records to the concepts throughout.

Score: 4/5

DJ Muggs – “Winter” review

DJ Muggs is a 52 year old producer & DJ from Queens, New York who came up as part of The 7A3 alongside the Bouldin Brothers in the late 80s. The trio only put out 1 album together but as the 90s approached, Muggs started to become a household name in the west coast as the producer for Cypress Hill & the leader of the Soul Assassins. He would go on to release 2 solo albums & with the 8 year anniversary of his previous one Bass for Your Face approaches next month, Muggs is finally delivering a follow-up.

After the “Winter is Here” intro, the first song “Warning Shots” by Boldy James talks about swimming or sinking over a creepy-sounding beat whereas the next track “Olympic Stamps” by Cappadonna talks about how his crew rolls thick comes together over a rowdy instrumental. The song “Japanese Space Program” by RLX talks about wanting all the riches over an operatic beat while the track “Food on My Fork” by Rome Streetz shouts out those who think they can go toe-to-toe with him over a rock-flavored instrumental.

The song “Veneno” by Crimeapple, Eto & Meyhem Lauren sees the 3 talking about that fly shit over a minimalist beat while the penultimate track “Resume” by Hologram talks about how they wanted him dead 10 years ago over a sinister instrumental. The closer “Roll the Credits” by al.divino talks about how listeners already know what the deal is over a cinematic beat whereas the bonus cut “Winter’s Theme in DM” is an instrumental piece that you can just sit back & smoke a bowl to.

As a whole, this album is solid & I would absolutely recommend it if anyone loves Muggs as I do. He could’ve added a few more joints & stretch it out longer than just 25 minutes, but his production is still very much top notch all these decades later & the guest MCs he brings on board come correct for the most part.

Score: 3.5/5

Rico Nasty – “Nightmare Vacation” review

This is the long awaited full-length debut album from Maryland’s very own Rico Nasty. Coming onto my radar a couple years ago off her Nasty mixtape, I was pretty impressed by her unique personality & her eclecticism. The last project Rico had put out prior was a phenomenal EP produced entirely by Kenny Beats last April titled Anger Management but as this turbulent year draws to a close, it’s only right for her to finally drop Nightmare Vacation.

The opener “Candy” talks about never changing the way she acts over a bombastic instrumental whereas the next song “Don’t Like Me” with Gucci Mane sees the 2 talking about haters referencing WWE Hall of Famer Mike Tyson over a cloudy beat from Buddah Bless. The track “Check Me Out” gets boastful over a piano & some hi-hats while song “iPhone” talks about relationships over a hyper pop instrumental from Dylan Brady.

“STFU” continues to brag over a blobby instrumental from Take a Daytrip while the song “Back & Forth” with Aminé finds the 2 showing off their chemistry with one another over a flute-tinged trap beat. The track “Girl Scouts” talks about pulling up with a chopper over a ghostly instrumental & a WWE reference while the song “Let It Out” vents all of her frustrations over a trap metal beat from 100 gecs.

The track “Losers” with Trippie Redd sees the 2 talking about those trying to fit in over an uptempo instrumental from Brandon Finessin’ while the song “No Debate” talks about how to make a bitch lose it. The track “Pussy Poppin’” gets raunchy over a quirky instrumental while the song “OHFR?” talks about not giving a fuck over an industrial-sounding beat.

“10 Fo” talks about leaving the last behind over a trap instrumental from F1LTHY of Working on Dying with a horn buried in the mix while the song “Own It” advises listeners to own up to themselves for everything over a rubbery beat. The penultimate track is a terrible remix to the Kenny Beats-produced “Smack a Bitch” & then the closer is actually the original “Smack a Bitch”, which I think is a brutal Asian Doll diss.

Coming away from this album, my feelings towards it are more mixed than I had anticipated & can say that Rico Nasty can do a lot better than what she goes for musically throughout the 40% of Nightmare Vacation that I don’t see myself going back to. I can commend Rico for being one of the most exciting performers in hip hop today & that absolutely applies here as do a great deal of the guests, but the production is just so hit or miss.

Score: 3/5

Marv Won – “Sooner Than Later” review

Marv Won is a 39 year old MC/producer from Detroit, Michigan who came up as a part of the world famous Fat Killahz. He’s gone on to become well respected in the battle circuit & has released a total of 3 solo albums, with the previous one being Soundtrack of Autumn in late 2016. However after this new full-length effort of his was set to drop next weekend, Marv has decided to put it out on his Bandcamp a week early.

The album kicks off with “Workin’”, where Marv talks about staying on the grind over a glistening beat. The next song “G.T.F.O.T.W. (Get The Fuck Out The Way)” talks about being beyond rappers over a grimy instrumental while the track “Twin Towers” showcases the titular duo consisting of Marv & Fatt Father over sinister boom bap beat. The song “Camp Low” talks about taking his own route over a soulful instrumental while the track “Lenny Cooke” talks about how he used to be the best kid in the class over a forlorn beat.

The song “Lay You Down” talks about living in a bucket of crabs over a gloomy instrumental while the track “Streets” talks about how you already know what it’s like in the gutter over some keys & a soul sample. The song “Clock on ‘Em” talks about putting cats under the gun over a dusty boom bap instrumental while the track “Nautica Van” talks about how that’s all he ever wanted over a lavish beat. The penultimate track “Raynathan” with Willie the Kid finds the 2 talking about those who want them to fall over a relaxing instrumental & then the closer “Rose” talks about appreciating loved ones before they’re gone over a glamorous beat.

Marv has always been one of the illest to ever come out of Detroit & this album is just a reminder of that. Dude’s production has only gotten better with time & his pen-game on here is powerfully thought-provoking.

Score: 4/5

Mooch – “Da 5th Power” review

Mooch is a 29 year old MC from Rochester, New York most notable for being a part of Da Cloth. He came onto my radar just last year when he dropped 3 solo albums & then a collab effort with Rigz but after a 4 month delay, Mooch is enlisting Thank5th for his 4th full-length album.

The album kicks off with “Puro”, where Mooch talks over being the illest over a luxurious piano instrumental. The next song “Slap” talks about fucking someone up over a gully instrumental while the track “Hard Knock” with Rigz sees the 2 talking about growing up in NY over chipmunked-vocal sample. The song “Grab da Work” talks about hustling over a grim instrumental & after the “Pandemic Coke” skit, the track “Microwave” reunites with Rigz to continue the themes of drug dealing over a soulful beat.

The song “Going Back to Cali” talks about hoping he never relapses over a dramatic instrumental while the track “Care Less talks about being him over a melancholic beat. The song “I Need You” talks about romance over a lush boom bap instrumental while the penultimate track “Tuesday” with Rob Gates & Rome Streetz finds the trio talking about the reckless shit they do over a ghostly beat. The album ends with “Cure”, where Mooch compares his music to an antidote over a lavish instrumental.

Dude’s one of my favorites members of Da Cloth & this new album was well worth waiting a few months for. I wish it was a bit longer, but Thank5th’s production is on point & Mooch continues to reveal himself as one of the illest lyricists that the Big Apple has to offer today.

Score: 3.5/5

Bernz – “Sorry for the Mess” review

Bernz is a 42 year old MC from Miami, Florida most notable for being a co-founder of the band ¡MAYDAY! alongside Plex Luthor in 2003. But after bringing a co-frontman & 3 other instrumentalists into the fold by the end of the decade, Kansas City icon Tech N9ne signed the group to his evergrowing independent powerhouse Strange Music in 2011 & have remained on the label since. However, it wouldn’t be until 2016 where Bernz branched out into a solo career & dropped See You on the Other Side. Fast forward 4 years later, he’s enlisting MIKE SUMMERS a.k.a. 7 to produce his sophomore effort in it’s entirety.

Things kick off with the title track, where Bernz apologizes to the listener for what they’re about to hear over a dreary instrumental. The next song “Don’t Wait on Me” then tells this woman to walk out the door over a boom bap beat with an acoustic guitar while the track “On My Way” talks about how this woman makes him feel over a jam session-like instrumental. The track “Necessity” with his ¡MAYDAY! partner in rhyme Wrekonize sees the 2 getting confessional over a piano & some explosive drums while the song “Outchea” talks about keeping things on pace over some blissful guitar melodic & some handclaps.

The song “Limited Time” with Futuristic finds the 2 talking about out of town romance over a funky ass beat while the track “Done” talks about waking up from the wrong side & still feeling good over a tropical trap instrumental. The song “Slow Dance” is a beautiful foot tapper backed by a sensual beat with some heavy drums while the track “Old Cutler Drive” looks back on his younger days as a hungry artist over a trap instrumental that kinda has a jazzy flare to it.

The song “In My Mind” opens up on being epileptic over a lugubrious beat while the track “Party in My Room” talks about sex over a fast-tempo instrumental. The song “Lie to Me” talks about not wanting to hear any hard truths over a rhythmic beat while the track “Sunny Rain” talks about what it’s like for him to love this woman over a warm instrumental.

The song “Hold On” teams back up with Wrekonize as they tell their partners not to let go of them over a calming instrumental while the track “Double Down” talks about getting back up when you’re on the ground over a psychedelic beat. The closer “Let You Down” talks about getting lost in his thoughts over an acoustic instrumental & then the bonus cut “Late Checkout” is essentially Bernz doing dumb shit in the club over a beat that I almost wanna say is a bit Latin flavored.

Strange Music has been constantly staying busy all year & if this is the last full-length album we’re getting from them until 2021, then what a damn-near perfect way to finish it off because Bernz really took it to a whole nother level on here in comparison to [i]See You on the Other Side[/i]. The lyrics are most personal yet & his chemistry with 7 is just astounding, as the production on here is incredibly versatile.

Strange Music has been constantly staying busy all year & if this is the last full-length album we’re getting from them until 2021, then what a damn-near perfect way to finish it off because Bernz really took it to a whole nother level on here in comparison to See You on the Other Side. The lyrics are most personal yet & his chemistry with 7 is just astounding, as the production on here is incredibly versatile.

Score: 4.5/5