Logic – “Vinyl Days” review

Logic is a 32 year old rapper, singer/songwriter, producer, author & Twitch streamer from Rockville, Maryland who came up just about a decade ago off the strength of the first 3 installments of the Young Sinatra mixtape series. His potential would continually be shown on his first 2 albums Under Pressure & The Incredible True Story but it’s no secret that since the release of Bobby Tarantino in 2016, the dude’s discography has become a definition of inconsistent. ΞVERYBODY, Bobby Tarantino II & Young Sinatra IV were all mid at best, but who can forget the embarrassing attempt at going indie rock on Supermarket or the unlikeable bitterness of Confessions of a Dangerous Mind? No Pressure however was a mature sequel to his full-length debut & I also thought the Doc D concept mixtape Planetory Destruction was decent too, but Bobby Tarantino III was pretty underwhelming. That being said, almost every single he dropped leading up to this 8th album of his albeit his last with Def Jam Recordings has been incredible & had me very excited going into it.

After the “Danger” intro, “Tetris” kicks off the album with a soulful boom bap note spitting some braggadocio whereas “In My Lifetime” with Action Bronson has a more energetic tone to it warning their competition to be concerned. “Decades” flips “Oh How You Hurt Me” by The Fabulous Performers talking about how money isn’t everything & after the “J.J. Abrahams” skit, “BLACKWHITEBOY” comes through with a visceral shot at everyone who’s ever doubted him.

Meanwhile on “Quasi”, we have Logic asking Madlib to start rapping again with an instrumental that’s clearly influenced by The Beat Konducta just before “Bleed It” heavily samples the Beastie Boys looking back on his childhood. “LaDonda” has a bit of a J Dilla influence to the production with Logic looking back on his career up to this point & after the “Aaron Judge” skit, “Clouds” with Langston Bristol serves as a decent prelude to College Park with the beat-switching up during the last minute so Curren$y can steal the show.

After the “Michael Rap” skit, “Therapy Music” was the only single that I didn’t like prior to the album’s release due to how similar Russ & Logic both sound. However, I do like the jazzy instrumental & the reference Russ had to Game of Thrones on the Warner Bros.-owned HBO. After the “Tony Revolori” skit, “Rogue 1” works in some dusty drums & a whistling teapot kettle to talk about how he had to take a step back leading into “Breath Control” sampling “I Really Really Love You” by Father’s Children as he & Wiz Khalifa tell anyone who wants to set up to them not to try them.

After the “NEMS” skit, “Nardwuar” marks the return of Logic’s alter-ego Doc D accompanied by a fuzzy boom bap beat while “Kickstyle” is just a decent Ratt Pack reunion & I’m disappointed that Bobby doesn’t have a verse on here at all because Big Lenbo & IamJMARS’ are both just mid. After the “EarlyBird” skit, Royce da 5’9” tags along for the raw “10 Years” to celebrate their accomplishments in the previous decade while RZA comes into the picture for the basement-sounding “Porta 1” to spit some hardcore bars.

After the “NeedleDrop” skit, “Introducing Nezi” is basically Logic’s way of showing Nezi Momodu to a wider audience with a siren-laced instrumental while “Orville” with Blu & Exile and Like has a chipmunk soul flare to it letting y’all know how they get down. “Carnival” with AZ finds the 2 over some horns to creep up on them lyrically referencing 10-time WWE world champion, 2-time WWE Intercontinental Champion, 5-time WWE Tag Team Champion & $7 Productions co-founder The Rock while the title track after the “Lena’s Insight” skit goes into a more symphonic direction talking about wanting the ESPN division of The Walt Disney Company to get their shit right.

The penultimate track “I Guess I Love It” with The Game brings back the jazz to admit that it’s funny how their feet been on the beach lookin’ at the sky & the stars above with “Sayonara” ending the album with a 10-minute open letter to Def Jam since Vinyl Days fulfills his contract with the label after being signed to them for the past decade.

Going into this, I had a strong feeling that this would be the best album of Logic’s career given how much I loved almost every single that he put out prior & that ended up being the case here. Granted there are WAY too many skits & some of the “mumble rap” lines are outdated as Hell but once you get past that, the actual music on here is actually his most artistically definitive yet.

Score: 4/5

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Westside Boogie – “More Black Superheroes” review

This is the sophomore album from Compton, California emcee Westside Boogie. Breaking out onto the scene in 2014 with his debut mixtape Thirst 48 as well as following it up with The Reach exactly a year later as well as Thirst 48, Pt. II the year after that, he would eventually catch the attention of Detroit icon Eminem by signing to his Interscope Records imprint Shady Records in late 2017. His full-length debut Everything’s for Sale at the beginning of 2019 was a solid way to introduce himself to a wider audience & he’s finally returning in the form of More Black Superheroes.

“KILLA MODE” opens up the album with an acoustic guitar & some crooning vocals as Westside Boogie warns everyone to stop playing with him whereas “STUCK” takes a more piano-trap route & show a more contemplative side of him. “NONCHALANT” has a more summery tone to it getting romantic just before “LOL SMH II” starts off with a more soulful tone talking about needing power to be present, but switches into somewhat of a funkier sound saying he’s as calm as can be.

Meanwhile on “CAN’T EVEN LIE”, we have Soulja Boy tagging along over some keys & hi-hats calling out the pussies leading into the smooth “PRIDEFUL II” asking his girl what she be getting into. “AIGHT” returns to trap territory to brush off all the cap people be telling him, but then Smino & Teezo Touchdown come into the picture for the sensual “CAN’T GET OVER YOU” talking about how they can’t get over their significant others.

“RATCHET BOOG” is an aggressive introduction to one of the 3 alter egos that Westside Boogie has with a cool beat-switch towards the end while “SOMETHIN’ STRANGE” seems a little out of place given the fact that Kalan.FrFr has the most presence on it out of everyone. The penultimate track “WINDOWS DOWN” with WWE Hall of Famer Snoop Dogg finds the 2 talking about smoking weed over a tranquilizing instrumental & “ANTHONY (WAR)” finishes the album with a well sequenced 2-parter admitting he thinks he’s too bougie now.

We’ve waited 3 long years for this one to come out & I think I happen like it a tad bit better than Everything’s for Sale. I admire the whole concept of embracing your powers as well as how much Westside Boogie has grown both creatively & personally since the last time we heard from him.

Score: 3.5/5

SoFaygo – “B4PINK” review

SoFaygo is a 20 year old rapper from Cobb County, Georgia who has cemented himself as one of the biggest faces in the plugg/pluggnB & rage scenes. He’s gone on to drop a total of 10 EPs since 2015 & now in light of Travis Scott signing him to Cactus Jack Records early last year, SoFaygo is preluding his upcoming full-length debut Pink Heartz by dropping an 11th EP & to celebrate him earning a spot on the new XXL Freshman Class list that also came out today.

“Long Way” is an amazingly energetic opener produced by Nick Mira of Internet Money Records & BryceUnknwn talking about how far he’s come whereas “Count Me Out” takes a airier, trap route instrumental wise dismissing those who be doubting him. The song “Good Day” returns to a more cloudier approach confessing that he can’t stay in Atlanta anymore while the penultimate track “Fall” is him bragging about him being the shit over a hazy beat. “Got Damn!” ends the EP by venting out what’s been on his mind & the Bakkwoods/Rafmade instrumental on here has a futuristic flare to it that I really like.

My lil bro J$zpiech actually put me onto SoFaygo months before he signed to Cactus Jack & I really think he gave everyone a fun little prelude ahead of Pink Heartz. The production is alright, but I can’t deny that he has a knack for catchy songwriting & melodic performances. All that being said: I’ll be going into his upcoming full-length debut expecting it to be a pivotal moment in his career.

Score: 3.5/5

Rome Streetz – “Pyrex Pot Poetry” review

Rome Streetz is a 35 year old MC from New York who broke out in 2016 off his debut mixtape I Been Thru Mad Shit. This was followed up by a plethora of projects, most notably the Noise Kandy tetralogy & Headcrack. Last year however was probably his biggest one yet, as he dropped some of the best work of his career from the DJ Muggs-produced Death & the Magician or the Futurewave-produced Razor’s Edge to the Ransom-assisted collab effort Coup de Grâce & the Griselda Records deal that followed. Fast forward a little over 7 months later, Royalz is being brought into the picture to produce Rome’s 6th mixtape from front to back.

After the “Pure Crystal” intro, the first song “Peep the Status” truly kicks the album off on a bluesy note with Rome talking about being cut from a different cloth whereas the Eto-assisted “Wise Guys” mixes some dusty drums & a guitar with both MCs getting in their mafioso bag. The title track with al.divino works in these creepy piano melodies describing the hustler life just before “Versace Drip” laces some horns saying he’s all about the checks.

Meanwhile on “High Noon”, we have Rim accompanying Rome on top of an orchestral beat asking what the move is leading into “Lexus Coupe” fusing pianos & a guitar together talking about forever being on a mission for the loot. “Xo” then incorporates a vocal sample expressing his eternal love for the paper, but then Ty Farris comes into the picture for the rock-tinged “Rebel Forces” talking about how losing ain’t an option for them.

The song “Empire State Haze” returns to a more symphonic sound saying he’s trying to touch $1M while the penultimate track “Walter White” eerily proclaims that everything he spits is biohazardous whilst paying homage to the main character of one of the greatest TV shows ever made. “Unfamiliar Projects” closes out the album with a crooning loop & Rome telling the story of a man who later shoots someone in the elevator after fucking a bitch the night prior.

Given that he’s got another album with Muggs on the way along with his Griselda debut & one fully produced by Big Ghost Ltd. on the way, Pyrex Pot Poetry is a great effort to hold us over until then. Royalz continues to reveal himself as one of the best producers out of Australia currently & Rome’s intricate lyricism never fails to amuse me.

Score: 4/5

Young Z – “Scumbag” review

Young Z is a 51 year old MC from Newark, New Jersey who came up in the early 90s as a founding member of the Outsidaz. He then branched out solo in ‘96 with the full-length debut Musical Meltdown, which was followed up 16 years later with the Mr. Green-produced 1 Crazy Weekend. Fast forward a decade later, Z’s returning once more by dropping a debut EP under the newly formed Hand to Hand Records based out in Australia.

“D.N.A. (Dat N***a Ass)” is an unsettling boom bap opener where Z’s just ripping on everyone’s favorite rapper whereas “Monkey Bars” with Vinnie Paz almost has a bit of a Middle Eastern flare to the instrumental bragging about how sick their rhymes are. The title track responds to those asking why he doesn’t speak on himself or his relationships over a mystic beat just before “Slave Son” is a deranged piano ballad talking about his grandpa.

The song “S.T.F.U. (Shut the Fuck Up)” with Pacewon finds the 2 heinously reminding everyone to keep their mouths shut when they’re talking, but then the penultimate track “Go Fund Me” works in an alluring vocal sample to get back in his battle rap bag even though R’s verse is pretty weak. “Tonight” with Rah Digga however ends the EP on a cinematic note saying they don’t wanna shoot no one.

For anyone who missed the Outsidaz de factoleader as much as I did, then do yourself a favor & PLEASE give Scumbag a listen because I think it’s a great comeback effort. Flu’s production from front to back is incredibly dark & Z’s casually destroying mics like he never went away for a decade.

Score: 4/5

Post Malone – “12kt Toothache” review

Post Malone is a 26 year old rapper, singer/songwriter & producer from Grapevine, Texas who rose to stardom in 2015 with the single “White Iverson”. This resulted in him signing to Republic Records, where’s made himself home ever since by dropping a total 3 full-lengths & a mixtape in that span of time. Now even though I’ve never really been the biggest fan of Posty’s work, there’s no denying that he has a decent amount of tracks that I genuinely enjoy like “Congratulations” as well as “rockstar” & who could forget “Sunflower”? Hell I even liked his sophomore effort beerbongs & bentleys, which I maintain is the crown jewel of his discography. It’s been almost 3 years since we last heard from him in the form of Hollywood’s Bleeding, which didn’t resonate to me because I felt like he was just riding the emo rap coattails. That being said, I didn’t know what to expect from this 4th album of his given how long it’s been since he’s put out music.

“Reputation” is a passionate piano ballad produced by longtime collaborator Louis Bell to open up the album with Posty advising the world to save themselves whereas “Cooped Up” with Roddy Ricch has somewhat of a hyphy flare to it & the way they both go on about pullin’ up to a party is just so boring. “Lemon Tree” takes a more acoustic route singing that he’s shit out of luck, but then “Wrapped Around Your Finger” goes full blown dance-pop to whine & cry about missing his ex.

Meanwhile on “I Like You (A Happier Song)”, we have Doja Cat accompanying Post for a moody trap banger with a playful attitude to it leading into the Gunna-assisted counterpart “I Cannot Be (A Sadder Song)” asking what they want them to be over a cloudy instrumental from Taurus. “Insane” obnoxiously describes a bitch that went from classy to nasty over a cavernous beat just before “Love/Hate Letter to Alcohol” comes through as my favorite off the album, as Posty wears his heart on his sleeve about alcoholism & the production is intense.

The Kid Laroi comes into the picture for “Wasting Angels”, which unfortunately wastes a synth-heavy beat for them to spit some unlikeable bars about how crazy their lives are while “Euthanasia” has a more skeletal approach in terms of sound singing that it’s not gonna hurt when he passes. “When I’m Alone” fuses these synths & punky drums only to spill more breakup melodrama while the song “Waiting For a Miracle” is yet another piano ballad about how he stays fucked up. The penultimate track “1 Right Now” is a laughable “Blinding Lights” ripoff which is a shame since The Weeknd carries it & the closer “New Recording 12, Jan 3, 2020” ends the album with an unfinished acoustic demo.

For this to be Posty’s comeback after 3 long years, I can say that I walked away from 12kt Toothache enjoying it even less than Hollywood’s Bleeding. Primarily because it seems like there’s little to no risks being taken as far as the overall sound goes & he sounds mostly uninspired throughout a good portion of the 43 minute run.

Score: 1.5/5

C-Lance – “The Undying Flame” review

This is the full-length debut from Boston producer C-Lance. Breaking out in 2010 after becoming an in-house producer for Enemy Soul Entertainment, he would go on to become one of the underground’s most prominent names ranging from the Army of the Pharaohs to Swollen Members. He spent last year dropping a beat tape every single month with each one being composed of samples of music from other countries with summer approaching, C-Lance is at long last unleashing The Undying Flame.

After the intro, “Sons of Godzilla” by Apathy & Celph Titled is an apocalyptic boom bap opener flexing their rapping prowesses whereas “Avocado Money” by Crimeapple & Vinnie Paz works in some vibraphones talking about being in a different ballgame. “Lord of Illusions” by G-Mo Skee & Jarren Benton finds the pair over a melodic vocal sample belittling their competition referencing the recently departed former アイアンマンヘビーメタル級チャンピオン, TNA World Tag Team Champion, WCW World Television Champion, 2-time WWE United States Champion, 7-time WCW World Tag Team Champion, 4-time WWE Intercontinental Champion & 2-time WWE Hall of Famer Scott Hall leading into the piano-laced “Total Disaster” by Cryptic Wisdom, Novatore & Rittz talking about going from nothing to the successful artists that they are today.

Meanwhile on “Behead the God”, we have Tha Connection coming into the picture over some synths that’re reminiscent to that of an old school video game saying the world is theirs just before “The Book of Life” by MURS & R.A. the Rugged Man brings the keys back in to provide the listeners with some inspirational subject matter. “Macaulay Culkin” by Chris Webby & Merkules incorporates some whistling into the beat talking about how crazy they are, but then “Something Different” by Junk hooks up a crooning loop calling out wankstas.

“Leap of Faith” by Big Twins & Evidence finds the 2 boasting their greatness over blobby boom bap instrumental while the appropriately “Bring the Terror” by Blaq Poet & Reef the Lost Cauze weaves in some horns to wreak havoc lyrically. “Tales from the Darkside” by Ill Bill & Snak the Ripper has this dope, pitched-up vocal sample with both MCs delivering some morbidly vivid imagery & after Stoupe the Enemy of Mankind’s interlude, “Riots By Masked Men” by Lord Goat & Recognize Ali eerily gets on their murder shit.

Following that, “Wildfire” by Madchild & Sick Jacken has these incredible organ harmonies comparing themselves to such while the song “Keep Calm” by Charlie Fettah, Daniel Son & Jay Royale finds the trio over a thunderous beat talking about maintaining through the fire. The penultimate track “Last Wishes” by Esoteric, Slaine & Termanology returns to a soulful sound advising not to fuck with them while “Ride It Out” by Blind Fury ends the album on a feel-good note saying he’ll be here until the end.

I’ve been a fan of this dude’s production work since my high school years, so for him to get his own full-length debut was very much anticipated & it certainly lived up to my expectations. It’s a fresh showcase of his signature sound & some of the illest MCs in the underground happen to pop up so they can rip his beats to shreds.

Score: 4/5

MC Ren – “Osiris” review

MC Ren is a 52 year old MC, songwriter & producer from Compton, California who got his start when Eazy-E signed him to Ruthless Records as a solo act in 1987 & enlisted him to write half of his full-length debut Eazy-Duz-It. This resulted in him joining N.W.A & they went on to become one of the most impactful groups in hip hop history even to this day. But it wouldn’t be until the summer of ‘92 where he started building a solo career for himself with the debut EP Kizz My Black Azz & has since dropped 4 albums of his own, with the last being Renicarnated a little over a decade ago at this point. However, Ren is returning after 13 years & has enlisted Tha Chill of Compton’s Most Wanted to fully produce his 2nd EP.

After the intro, “Keep It Gangsta” sets it off with Ren admitting he’s feeling like Roy Jones Jr. on top of an instrumental giving off a vintage west coast flare to it whereas the title track goes into more trap territory sampling the classic Raekwon joint “Ice Cream talking about him just chilling. Kurupt tags along for the minimally produced “Fire” getting in their battle rap bag just before “The News” takes a soulful route with socially conscious lyricism. The song song “Time” is a cool reflection on the old days over a slick instrumental while the penultimate “Hub City Love” with Tha Chill finds the pair over some pianos paying tribute to their old stomping grounds. “The Anthem” ends the EP with a gritty ass posse cut accompanied by the likes of Cold 187um, J-D, Jayo Felony, Ras Kass & of course Tha Chill.

Ren has always been one of the most underappreciated forces behind N.W.A in my opinion & Osiris continues to show that because I think this is not only a great comeback from the Villain himself, but it’s also the best solo effort he’s made since Ruthless for Life. It makes me really happy to hear that him passionate on the mic again & Tha Chill’s production is incredibly consistent as well.

Score: 4/5

CyHi the Prynce – “EGOT” review

CyHi the Prynce is a 37 year old MC & singer/songwriter from Stone Mountain, Georgia who originally came up in ‘09 when Akon signed him to Konvict Muzik for a short period of time. He then jumped ship to Kanye West’s very own Def Jam Recordings imprint G.O.O.D. Music, dropping a total of 7 mixtapes & a full-length debut under the Chicago, Illinois icon’s wing. We haven’t heard much from him since then but in preparation for his sophomore album The Story of EGOT coming this summer & founding his very own label EGOT Records backed by EMPIRE Distribution, CyHi is returning with his debut EP.

“Extra” opens up the EP with a horn-laced trap banger talking about feeling a little too cocky while the song “Help Me God” goes into chipmunk soul territory with CyHi delivering a message to the higher power. The penultimate track “Slide” returns to a trappier vibe with some jazzy undertones to it talking about sliding forever, but then “Tears” closes out the EP with a emotional ballad encouraging listeners that it’s alright to cry accompanied by a cavernous instrumental.

Now I’m not sure if any of these cuts are gonna make their way onto The Story of EGOT but nonetheless, I think CyHi gave us an enjoyable appetizer to warm us up for the main course. He sounds rejuvenated on the mic & I really like the amalgamation of sounds that the producers bring to the table ranging from trap to jazz rap & chipmunk soul. Definitely excited for the album later this summer.

Score: 3.5/5

Bizarre – “He Got a Gun” review

Bizarre is a 45 year old MC from Detroit, Michigan who came up as an original member of the now defunct D12 led by the late Proof. He was also among the first in the crew to put out solo efforts, with his 1998 debut EP Attack of the Weirdos being a hometown classic in my eyes. Fast forward 7 years later, Biz followed it up with a worthy full-length debut Hannicap Circus & has continued to put out music on his own since, with the last time we heard him being his 10th mixtape Peter this past winter. But for his 5th album, the idiotic kid is bringing in one of the city’s greatest producers Foul Mouth behind the boards for the whole thing.

“Uzi” is a soulful boom bap opener with Bizarre going at the throats of anyone who wants to step up to him lyrically whereas “Hecker” with Kool Keith takes a grimier route talking about how they’re just built different. “Gauge” works in some strings reminding everyone he doesn’t think realistically just before Dope D.O.D. tags along for the dusty “Desert E” talking about how dangerous they are.

Meanwhile on “MG3”, we have Kain Cole joining Bizzy over some pianos admitting that they just wanna fly leading into “XM307 (Night Shift)” throwing a soul sample into the mix talking about him looking forward to his bitch clocking out of work as she comes in during the evenings. “FN” returns to boom bap turf asking if people are really living what they’re rapping & after the first of 2 skits, “9MM” shoots for a more psychedelic sound telling the story of his sex life.

NEMS & Young Z both come into the picture for the gully “25” to get ignorant on the mic while “Smith & Wesson” with the homies Dango Forlaine, Nick Speed, Ty Farris & 7 the General finds the quartet over some keys for an incredible Detroit posse cut. “AS50” encourages listeners to run because you don’t wanna get shot by him over an uncanny beat, but then “Dillinger” fuses elements of rock & boom bap talking about fucking up people outside.

Following that, Guilty Simpson & Mvck Nyce join Bizarre for the forlorn “Saw Off” to apply pressure while “45” incorporates a guitar talking about coming from the gutter. “Glock (College Bitch)” is one of the weaker cuts on the album despite it’s soulful production due to it’s subject matter about fucking bitches that’re over 2 decades younger than him & after the “Coney Island” skit, “Detroit” picks it up with a raw ode to the city. Prior to the outro though, “Rusty 38” with Big T ends the album on a chaotic note delivering that raw hip hop.

A lot of people like to dismiss Bizarre as an MC, but I came away from He Got a Gun liking it just as much as Attack of the Weirdos & Hannicap Circus. Easily some of the best work of his career in my opinion. There are a couple lackluster features & song topics throughout, but Foul Mouth’s production doesn’t miss a step & Peter S. himself has a fire under his ass lyrically.

Score: 4.5/5