CMPND – “Eagle Court II: Long Live the Court” review

Brighton, East Sussex, England, United Kingdom trio CMPND consisting of Kemastry, Wundrop & Vitamin G back for a sophomore effort. All 3 of which are lyricists in their own right & Wundrop in particular being their in-house producer. The historic Hove underground imprint High Focus Records signed them & their debut album Eagle Court named after the residential flats these guys grew up together. It has since been demolished, reforming to make a sequel saying Long Live the Court.

“Ain’t Gonna Fold” produced by none other than Wundrop begins with this uncanny trap instrumental talking about never backing down from anything whereas “Weaintplayin” works in some strings & hi-hats cautioning that they ain’t fucking around with anybody. “Court in Session” radiates a psychedelic trap vibe assuring that they ain’t bitches begging for sympathy while “Acid Reign” asks why live life on a timer when the money winds up evaporating.

Meanwhile regarding “Nice Riot”, we have CMPND over this unsettling beat homaging the song “Riot Akt” off Gang Starr’s penultimate album The Ownerz prior to Hutch joining the 3 for “Illeagle Court II” following up the themes of it’s predecessor Hutch also made an appearance on off the original Eagle Court album. “D.I.T.D. (Down In The Dumps)” shifts in favor of an ominous atmosphere dissing rappers relying on clout while “The Culprit” talks about fucking up their lives to finish the 2nd quarter.

“Pick a Card” starts the 2nd half passionately speaking of the only thing they can do is being themselves & do what they do grippin’ mics until “Skrewed” featuring Bil Next finds the quartet getting back to the killstreak they’ve been needing for a bit. “Guaranteed Wins” dustily talks about indifference being a bigger disease than death itself than just before “Tiny Violin” featuring Datkid & PAV4N viciously boasts of their own grind.

The soulfulness of “Playinu” hits quite perfectly talking about their best their be the greatest versions of themselves doing his things daily and it’s The Truman Show while “Suh Quelle” hypnotically acknowledges a comparison between Vitamin G & Danny Brown, which I can’t argue being a Detroiter myself. “Went There” on the other hand carries forward talking about taking it to lengths others didn’t think they could when Eagle Court exists.

“Bojangles Jesus” embraces a cavernously woozy atmosphere instrumentally advising to stay clever with everything you do until the due respect comes while “Crazy Town” returns to the boom bap talking about still pursuing the dream despite it not being what it used to be because of the culture forever evolving. “Griezmann” featuring Truemendous finishes Eagle Court II: Long Live the Court with both High Focus labelmates rightfully boasting their status amongst the best around their necks of the woods.

I’d still prefer Eagle Court between the 2 full-lengths CMPND has given us so far, but the successor Long Live the Court will still satisfy fans of the group for it’s solid testament of staying true to themselves. Kemastry, Vitamin G & Wundrop pick up right where they left off 3 years earlier mixing insanity, debauchery, pain, pleasure, introspection & surrealism into a deludamolic delicacy of raucously depraved antics admirably carrying the former housing flats’ spirit gracefully.

Score: 3.5/5

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Crimeapple – “Breakfast in Hradec” review

This is the 9th full-length album from New Jersey emcee Crimeapple. Catching my interest in the fall of 2017 with his 4th EP Sweet Dreams along with his Big Ghost Ltd. produced full-length debut Aguardiente that following spring, he profile began to grow after dropping the DJ Skizz-produced Wet Dirt & the DJ Muggs-produced Medallo the next year. His output for the next couple years would be hit or miss until Cartagena picked up right where Medallo left off & Jaguar on Palisade 2 was alright too, but I was hyped for Breakfast in Hradec given that Wet Dirt is a top 5 Crime project for me.

“In Flight” is a luxurious opener talking about making rent off someone’s uncle whereas “Penthouse Suite” works in some creepy organ melodies declaring himself as the villain. “Scissorhands” throws in a crooning vocal sample to tackle concept of “it ain’t where I’m at, it’s where I’m going” leading into the soulful “40 Days, 40 Nights” talking about coming a long way.

Meanwhile on “The Count of Monte Cristo”, we have Crime delivering a classy song to his baby just before “Rezamos” instrumentally throws it back to the 80’s talking about praying for those who’d give a kidney to be in his shoes. The song “Wonder Years” incorporates a bass-guitar reflecting on how dirty he used to be while the penultimate track “La Lluvia” is a beautifully smooth ballad about how lovely life’s been lately. “Currency Exchange” ends the album on a boom bap note detailing him landing in JFK with more racks.

Coming away from Breakfast in Hradec, I happen to like it just as much if not more than Wet Dirt. Skizz’ production is a bit more varied compared to the predecessor being more rooted into boom bap & that matched with Crime’s wordplay is what makes it not only a big improvement over Jaguar on Palisade 2, but also one of the best albums of his career.

Score: 4.5/5

Hush & Bobby J from Rockaway – “718 II 313” review

This is the brand new collaborative album between Hush & Bobby J from Rockaway. One being a Detroit veteran coming up as 1/2 of Da Ruckus & the other being a Kwamé protege who’s been gaining traction in the underground in recent years. They linked up with each other during the pandemic & are releasing 718 II 313 after 2 years in the making with Hush spitting on every cut as well as producing a good majority of it.

“People” is a rock-influenced opener with Daru Jones on the drums telling the world that they do this rap shit for us whereas “Girls” takes a more soulful route as Paradime accompanies the 2 to talk about how all they see is bitches. Trick-Trick tags along for the disco-infused “Kolm” produced by Maestro Williams of the duo Silent Riot showing their love for the 313 just before “Runnin’” takes a more melodic approach talking about having to get out of this place they’re in mentally.

Meanwhile on “Monsters Are Due on Maple Street”, we have Hush & Bobby over a piano-laced boom bap instrumental as they acknowledge that shit’s been getting crazy out here leading into Ro Spit coming into the picture for the smooth “Livin’ This Lifetime” talking about making this bread together. “The Truest” with Guilty Simpson & Marv Won finds the quartet flexing their lyrical abilities over a spacious beat with Daru back on the drums once more, but then the D.L. Jones-laced “Sometimes” is a compelling Hush solo cut talking about wishing we had more time.

“Let the Opera Sing” shoots for an appropriately operatic sound calling to be shown respect while the rugged “Oh Yeah” with Lil D finds the trio getting in their hardcore bag. The song “Capers” with The Truth brings the guitars back in to talk about getting that bread until they’re gone while the penultimate track “Posse Cut” with Kwamé, Michael Fiya & Quest MCODY is a 4 minute & 20 second barfest with a glossy instrumental. “The End” closes out the album with a love letter to Hush’s career.

These guys invited me to the studio last year so they could play 80% of the album for me as they were putting the final touches onto it & I’m telling y’all that this is one of the best projects that either one of them have made. They bring the best out of each other as far as chemistry goes, it’s incredibly well-produced & the features are all nicely handpicked.

Score: 4.5/5

Summrs – “Fallen Raven” review

Summrs is a 22 year old rapper from Lafayette, Louisiana who cam up as a member of the Goonie-founded Slayworld collective. His presence has been known predominantly in the plugg scene by constantly dropping projects whether it be the All Summr trilogy or his last EP What We Have, the latter of which in my opinion I’d recommend going to if you’re unfamiliar with the kid already. Last we heard from him was 9 months ago when he dropped Nothing More Nothing Less & after countless delays, he’s returning with his 6th full-length album.

“Let da Birds Out” is a hypertrap-laced opener with a blaring instrumental & lyrics warning to take down anyone who plays him whereas “Wakeup” takes a more odious route talking about wanting new shit. “So Much Cheese” comes through with some decent braggadocio even if the rage beat on here sounds like it was originally made for Yeat down to the bells, but then “Catch a Kill” works in some synth-horns & hi-hats showing a malicious side to him.

Meanwhile on “FadaPhillipe”, we have Summrs on top off a bassy instrumental continuing to flex leading into “Twin did dat” getting back in his gangsta rap back except the production is just mild to me. The beat that “Swing Ya Pole” brings to table is very similar to that of “So Much Cheese” talking about waking up to money on his mind just before “Clear da Business” brings the horns back telling a pussy to get out of his feelings.

“Calico from Mehico” laces some synthesizers boasting once more while “Don’t Mean Shit” ends Side A of the album by mixing a flute & bells confessing that drugs are killing him. “5:35am” is completely stripped back in terms of sound talking about fighting his demons daily while “Vali, CO” takes a cloudier approach saying all he wanted was the bag.

Following that, “For you” goes completely drumless as Summrs confesses his love to an unnamed woman while “Ashes” weaves some glistening pianos in talking about needing another cup. “Cuts So Deep 2” produced by Goyxrd goes full-blown plugg hoping he’ll be forgiven once he’s passed while the atmospheric “FTW” talking about people moving the fuck out his way when he’s posted up.

“Perfect Timing” has a peppier tone to the beat detailing being in love while “Soulja Rag” returns to cloudier territory talking about how it’s supposed to be. “Bonnie & Klyde 2” shoots for a wavier aesthetic wanting to wife up his girl while “NSA” is a chill way to end Side B of the album talking about how it was all supposed to be no strings attached.

The first bonus cut “Dear Mom,” reverts back to drumless turf much like “For you” dedicating it to his mother while the penultimate track “Loving u’s a Sin” is a twangy trap ballad comparing his bitch to that of the devil. “Caused Envy.” ends the album with a guitar & snares calling out someone who switched up on him all just for pussy.

As far as Summrs’ full-lengths go, I think it’s safe for me to say that Fallen Raven is my favorite thus far. To me, it really shows his range as an artist with EVOLVED 2 (Side A) dabbling with rage beats & What We Have 2 (Side B) sticking to the PluggnB sound that he as well as longtime collaborator Autumn! helped popularize.

Score: 4/5

Roddy Ricch – “The Big 3” review

Roddy Ricch is a 23 year old rapper & singer/songwriter from Compton, California who came up in the fall of 2017 off his debut mixtape Feed tha Streets. He would follow it up with a sequel almost a year later & signed to Atlantic Records shortly after, who put out his full-length debut Please Excuse Me for Being Antisocial the year after that to moderate reception. His sophomore effort Live Live Fast came out this past winter & even though a lot of people found it to be a disappointment, I personally consider it to be his best work yet. So given that, I was curious to hear this debut EP of his ahead of his upcoming 3rd mixtape Feed tha Streets III.

“Real Talk” is a solid introduction to the EP with it’s twangy trap production from DJ Mustard on top of Roddy’s lyricism touching on loyalty & brotherhood, but the penultimate track “Tootsie’s” has to easily be my least favorite of the 3 with it’s nondescript instrumental & bland braggadocio. I do however find “No Mop” to be a sensual conclusion from the misty trap beat from London on da Track to Roddy’s raunchy pen-game.

I know I’m in the minority for liking Live Life Fast more than most people, but I really hope Feed tha Streets III is better than The Big 3 because it’s an average appetizer before the main course. You got a great way to start it off, but then you get a miss & a mid closer. Hopefully the tape will be a moment of redemption for Roddy.

Score: 3/5

Chetta – “Been Here Forever” review

Chetta is a 31 year old rapper & producer from New Orleans, Louisiana who came up in the spring of 2014 off his debut mixtape Nino White. This was followed up with 18 EPs as well as 11 more tapes & a full-length debut but now after catching the attention of & signing to G*59 Record$ last spring, he’s returning in the form of a sophomore effort that he himself has claimed to have waited a long time to give the world.

“Blair Witch” is a grim trap opener produced by none other than $crim with Chetta talking about how it pays to be a boss whereas “Heaven Ain’t Free” sinisterly admits that he’s just doing him. The $uicideboy$ tag along for the hyphy-laced “Poydras” talking about re-upping on these hoes just before “All Thug No Love” solemnly detailing how bad the ecstasy got him geekin’.

Meanwhile on “Dracula”, we have Chetta over a cloudy trap instrumental declaring himself as a real rockstar leading into the ghoulish “Hiroshima!” talking about how he hates himself too. “Take You Out This World” shoots for a wavier approach to the beat getting in his murder bag, but then $crim comes into the picture for “Murder He Wrote” to talk about hittin’ the road when it’s frozen & going ghost.

“Save Me the Rain” however fuses a guitar & some hi-hats telling a hoe he don’t need her anymore while “(Killers Cry Too)” is an impressive spiritual successor to “Thug Cry” off his last EP Major Pain. The song “Spend My Whole Life Getting High” returns to a cloudier sound talking about putting his money on him while the penultimate track “Drugs in Her Gut” telling a bitch he can’t stop now over a surprisingly elated instrumental. “When Life Hands You Nothing” ends the album by disturbingly confessing he feels like he’s drowning & sinking.

Now for those of you who’re new to Chetta & his music, then I’d say Been Here Forever is a good place to start because it happens to be my favorite that he’s ever done so far. He takes the listener through where he’s at now in his life & $crim also happens to do a really great job behind the boards as well.

Score: 4/5

Juicy J & Pi’erre Bourne – “Space Age Pimpin’” review

This is the brand new collaborative mixtape between Juicy J & Pi’erre Bourne. One is a founding member of the groundbreaking Memphis, Tennessee outfit Three 6 Mafia & the other being a South Carolina recording artist who quickly became one of the most in-demand producers in hip hop today due his one of a kind sound. Juicy just did a verse for “Bubble Gum” off of Jelly’s latest album The Wolf of Peachtree 2 fully produced by Pi’erre, so they’re coming together for some Space Age Pimpin’.

“You Want It” kicks off the album with a grim trap banger that finds Juicy & Pi’erre bragging that they got all the shit others desire whereas “Smokin’ Out” works in some chopped & screwed influences talking about the lifestyles they both live. “This Fronto” returns to a more darker trap sound describing both parties being under the influence just before “Bring Them Out” reveals itself as a fun anthem to all the hoes out there.

Meanwhile on “Uhh Huh”, we have Juicy & Pi’erre delivering a symphonic trap banger getting materialistic leading into “B.B.L. (Brazilian Butt Lift)” comes through with a trumpet-laced ass-shaker’s ode. “Who Get High” shoots for a hazier aesthetic talking about being blowed, but then “Can’t Get Her” mixes a guitar with some hi-hats calling out dudes getting in their feelings because they stole their bitches.

“The Deep In” explains how bad they’re tweakin’ over a triumphant instrumental & even though I love the soul sample throughout the penultimate track “NFT”, the subject matter about the biggest scam in the world is just tiresome at this point. “Unsolved Mystery” ends the tape with a rugged banger reminding everyone not to bring any bullshit to them & that they don’t fuck around.

Compared to the Stoner’s Night tape that Juicy dropped with Wiz Khalifa at the beginning of the year, I happen to like Space Age Pimpin’ a tad bit more. That’s no disrespect to Wiz either because he & Juicy have always had a dope chemistry, but I really find it fascinating how a style as unique as Pi’erre’s collided with Da Juice Man’s in terms of overall sound.

Score: 3.5/5

Cody Manson – “E=MC Skelter” review

This is the sophomore album from Cleveland emcee Cody Manson. For the last few years now, he’s been on one Hell of a meteoric rise in the underground whether it be him signing to Lyrikal Snuff Productionz or dropping his full-length debut Psychoactive on Christmas Day a couple years back to widespread acclaim. But in light of his birthday & The Generations of Snuff Tour kicking off last weekend, Cody’s celebrating by dropping E=MC Skelter.

“Shiv” is an explosive trap opener produced by Devereaux & Lex Luger of all people talking about fucking people up whereas “Snuff Flick” with Darby O’Trill finds the 2 eerily proclaiming that they’ll turn your party into a horror movie real fast. “Un-Birthday” takes a more vibrant trap route thanks to $crim of the $uicideboy$ welcoming everyone to his funhouse, but then Slasher Dave laced up the bombastic “Gross” detailing a figment of Cody’s imagination.

Meanwhile on “Goat”, we have Cody returning to the trap sound talking about having to get his paper right leading into “No Talkin’” ominously following up the “Free Huncho” spoken word interlude by advising everyone that you gotta be taking risks to win the game. “Jackie Chan” aggressively talks about him kicking doors down in the same vein as the titular actor just before “Hockey Bag” fuses some bells & hi-hats reminding that he really got it out the gutter.

“Voices” has this incredibly hellish atmosphere to the production talking about being on the brink of insanity prior to Ghostemane tagging along for the heinous “Feeble” with both MCs confessions their demons got the best of them. The song “Thrillz” shoots for a morbid aesthetic explaining the things we do to chase such while the penultimate track “Love Me” is a trap-heavy ballad touching on heartbreak. “Tears of a Clown” however ends the album with some groovy guitar licks admitting he can’t hide from attention or run from fame.

I always love seeing artists outdo themselves with each album they put out & that’s exactly what Cody does on E=MC Skelter. The production has improved tremendously compared to Psychoactive, the lack are a features are a nice touch since they were all over the debut & Cody lyrically is the best he’s ever sounded.

Score: 4.5/5

Lupe Fiasco – “Drill Music in Zion” review

This is the 8th full-length album from Chicago, Illinois emcee Lupe Fiasco. Blowing up in 2005 after appearing on “Touch the Sky” off of Kanye West’s sophomore album Late Registration, he then went on to release 2 classic albums Food & Liquor and The Cool in 2006 & 2007 respectively. However, his output since then has been very inconsistent. His next album Lasers in 2011 is easily his worst yet, Food & Liquor 2: The Great American Rap Album in 2013 was just ok but then Tetsuo & Youth in 2015 was a near perfect return to form for him. Given that, I was excited to see what he was going to do in the future. DROGAS Light wound up being a disappointing mixed bag, but DROGAS Wave eventually made up for it. Fast forward to today, we’re being treated to Drill Music in Zion fully produced by Soundtrakk.

After the “Lion’s Deen” intro, “Ghoti” kicks off the album with some horns rapping about assassin’s creed referencing Neuralink founded by Tesla CEO, SpaceX founder & the new Twitter owner Elon Musk whereas “Autoboto” goes into a more abstract trap route defending himself in court. “Precious Things” has a little bit of a crestfallen tone to the beat as Lupe reflects on how all the stuff we love turns on us, but then “Kiosk” incorporates some pianos delivering a serious message to the type of people who like diamonds in their ears.

Meanwhile on “Ms. Mural”, we have Lupe immaculately closing out the “Mural” trilogy just like the way he started it leading into “Naomi” fusing jazz & boom bap together so we can get streams of consciousness lyrically. The title track admits that that episodes of the soul make him cold over an abstract, jazzy instrumental while the penultimate song “Seattle” is a cloudy, guitar-driven cut keeping his promise to the streets. “On Faux Nem” closes out the album wishing he was lied to by over horns & dusty drums.

Tetsuo & Youth was a great return to form for Lupe, so to say I was hyped for Drill Music in Zion would be an understatement. Needless to say: It blows Food & Liquor 2 out of the water much like DROGAS Wave did as far as sequel albums to. Soundtrakk’s production is incredibly detailed & the concept of “greed transforming each interaction into a transaction & how the profit motive corrodes our collective humanity” is very well thought out.

Score: 4.5/5

French Montana – “Montega” review

French Montana is a 38 year old rapper from Casablanca, Morocco who came up as a close Max B associate. He would then go on to drop 9 mixtapes until Puff Daddy a.k.a. P. Diddy or Diddy signed him to Bad Boy Entertainment in late 2011, where French has made himself home ever since dropping 4 albums & 6 more tapes. Every album he’s put out thus far haven’t been as well received as his mixtapes, but I was very intrigued to hear that Harry Fraud would be fully producing French’s 5th album in it’s entirety given how well the producer/rapper pair have worked with one another in the past.

“Blue Chills” opens up the album with some hi-hats & a Skylar Gudasz sample as French declares that he’s coming for those who’re trying to escape him whereas “Rushmore Pack” works in a soulful instrumental talking about how lies don’t faze him & that he ain’t the same Montana as before. The hottest rapper in Detroit right now Babyface Ray for “Drive By” flipping “Swan” by Ionna Gika explaining that everything they do is mega leading into EST G. coming into the picture for the energized “Keep It Real” telling their shorties that keeping it 100 is better than being perfect.

Meanwhile on “Kind of Girl”, we have French & Rick Ross on top of a Lou Courtney sample describing their taste in woman just before “Higher” flips Everton Blender to talk about dying for the paper. “Bricks & Bags” with Benny the Butcher & Jadakiss finds the trio over a grittier beat detailing their d-boy lifestyles, but then “Poetic with No Justice” embraces a symphony to talk about dreaming filthy.

“Drop Top” with Quavo incorporates a chilling vocal sample so they can get materialistic while the song “Shorty So Bad” is just an annoyingly airy love ballad. The penultimate track “Drunk Words, Sober Thoughts” with the late Chinx goes full-blown boom bap throwing some piano chords into the mix talking about how no one can fuck with them & “Bronx Mecca” closes it all out by flipping There’s a Ghost” by Fleurie with French getting vulnerable lyrically.

A lot of people like to reasonably clown this dude for his most recent output, but I seriously don’t see how anyone can come away from Montega looking at it as his most consistent body of work in a very long time. Harry Fraud’s sample heavy production is a breath of fresh air considering that his last 4 albums were just chockfull of generic pop rap & the performances from French’s performances himself actually sound decent.

Score: 3.5/5