Mikahl Lawless – “Gangri-La” review

York, Pennsylvania rapper Mikahl Lawless dropping his debut album under Lyrikal Snuff Productionz. Introducing himself in the summer of 2019 off his debut EP Pen to Paper, he would go on to follow it up with Overture for the Ill & Broken Hearted as well as 13 & Kisses to Nowhere until Cody Manson made him a member of his Trife Life collective. Cody eventually introduced Mikahl to Scum, impressing The Gorefather enough to give him an LSP deal of his very own & introduce himself as part of the roster on Gangri-La.

“Stripped” begins with a trap instrumental demanding to put the money in the bag whereas “Snuff the Light” talks about repping Trife Life & Lyrikal Snuff until his very last breath. “Grey” goes for a boom bap vibe incorporating some pianos along the way carrying a curse until he finds his final resting place leading into “Wicked Shit” gets back in his trap bag talking about bringing that horrorcore to your speakers.

As for “Dagger”, we have Mikahl ending the 1st half of his inaugural LP cautioning that he has the temper of a maniac & lifting the clubs up whenever he steps up in that bitch while “On Go” talks about seeing it in the eyes of those who haven’t experienced real grief that they hate him. “Hollow” vents the frustration of feeling angry & fragile at not receiving the real answers he’s been looking for out of others just before “Becoming the Ghost” talks about transforming into a specter.

“Gang” featuring Cody Manson starts the final moments of Gangri-La with both of them living that Trife Life, explaining that their hearts are comprised of love along with anger & pain. “Leave the Planet” sends off the full-length calling for the demons to cleanse the Earth’s evil cancer & to be removed from the world we’re living in. The “forever juggalo” line has also stirred controversy because he used to represent the confederate flag & Insane Clown Posse had a highlight off their debut album Carnival of Carnage called “Fuck Your Rebel Flag”, but I digress.

For a half hour collection of 3 newly recorded songs & 7 tracks that’ve already been released previously as singles within the past couple years, Gangri-La welcomes Mikahl Lawless as newest member of Team Snuff with a full length debut that surpasses his earlier EPs. The production mixes old & new sounds together from boom bap to trap, wickedly holding down the mic by himself throughout a good portion of it aside from the very person who helped him secure a record deal obviously.

Score: 3.5/5

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Rome Streetz – “Wasn’t Built in a Day” review

Rome Streetz is a 36 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. But this current decade is easily 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. His debut with the Buffalo powerhouse Kiss the Ring came in at the #9 spot on my Best Albums of 2022 list & is now enlisting Big Ghost Ltd. to produce his 8th album only days away from the 20-year anniversary of 小橋建太 defeating the late プロレスリング・ノア founder 三沢光晴 to end his 2nd reign as GHCヘビー級チャンピオン.

“Godspeed” is a spine-tingling piano opener with Rome talking about going from having to take a chance to doing shows internationally prior to Conway the Machine tagging along for the boom bap inflicted “Suicide” referencing former IWGPヘビー級チャンピオン as well as a 10-time WWE world champion & former UFC Heavyweight Champion Brock Lesnar. “8Balls” ruggedly sets his eyes on the Ms just before “Gem Drop” works in some keys, kicks & snares justifiably referring to himself as the finest on the mic.

Method Man comes into the picture for the dusty “P’z & Q’z” to explain the policy being putting plenty of bread in their pockets leading into “Royal Flush” weaving a harp into the fold talking about eating gluttonously & trying to stack the money higher than the pearly gates. “Lobsters in Shoreditch” returns to the boom bap as he flexes the fact that he’s a mobster prospering, but then “Dope Stampz” has a more minacious tone sonically talks about being a king & not wanting to be compared to any of these washed motherfuckers.

The penultimate track “Majisty” keeps things dusty as he declares himself as royalty while the closer “Antidote” with Plex Diamonds finds the 2 hooking listeners up with the rap that they all fiending for from the cutthroat lyricism to the raw instrumental. “U Mad Huh?” however truly ends the album with a piano-boom bap laced bonus cut performed by Chyna Streetz as she calls out those envious of being the one that people chose & it happens to be amongst her best songs yet, raising anticipation for a potential full-length debut.

Big Ghost is amongst the most consistent producers in recent memory & Rome Streetz’ technicality is unmatched, so it shouldn’t come as a surprise that both of their worlds colliding on Wasn’t Built in a Day would wind up being as much of a match made in heaven as it is. I’ll even argue that it’s an early Album of the Year contender. 35 & a half minutes of the greatest lyricists in the game rapping circles around everyone as the production takes it back to the basement as opposed to Gucci Ghost 2’s diverse range of sounds

Score: 4.5/5

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H.A.R.D. – “JFK2LAX” review

H.A.R.D. is a hip hop super-duo consisting of Joell Ortiz & KXNG CROOKED. Both of whom have had notorious label issues at the start of their careers, but would go on to see success as members of the supergroup Slaughterhouse along with Royce da 5’9” & Joe Budden from the late 2000s up until the mid-2010s. The quartet had quietly disbanded in 2016 after Joe’s retirement from making music even though it wasn’t confirmed until 2 years later, but the other 3 members have been keeping themselves busy ever since. H.A.R.D. introduced themselves a couple months after the pandemic hit with an incredible eponymous debut EP along with 2 full-lengths last year: The Rise & Fall of Slaughterhouse and Harbor City. But as the 1-year anniversary of their debut album approaches next month, they’re retuning with the 2nd EP.

“Take Time” is a triumphant opener to the EP about the dynamic duo’s return & that getting paid doesn’t make sense whereas “Dodgers” has a more psychedelic groove to it paying homage to the team’s current home on the west coast & their roots in the east. The song “Foe or Friend” hooks up a sample of “Hey, What’s That You Say” by Brother to Brother’s with some hi-hats saluting Hov while the penultimate track “Stay Dangerous” has a more symphonic quality to it referencing current NXT commentator, 2-time WWE Hall of Famer, 6-time WWE world champion, 4-time WWE United States Champion, 14-time WWE tag team champion, 2-time WWE Hardcore Champion, RoW Tag Team Champion & TNA World Tag Team Champion Booker T. “Blue Magic” however is a touching note to tie things up on from the production to the sincerity in their performances.

These guys have really been working nonstop as of late & I just wanna say although I’m well aware this is an EP, I think I like JFK2LAX a bit more than H.A.R.D.’s last album Harbor City by a small margin. Only a couple questionable production choices every here & there, but I genuinely appreciate how both parties give their flowers to each state that they came from with a chemistry as exciting as theirs is.

Score: 3.5/5

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Canibus – “Self Licking Ice Cream Cone” review

This is the 18th full-length album Kingston emcee Canibus. Coming up as 1/2 of the duo T.H.E.M. alongside C.I. back in ‘92, they eventually split up a few years later & Bis would blow up in ‘97 after appearing on the LL Cool J song “4, 3, 2, 1” that later resulted in a beef between both parties. He would then go on to make a lengthy yet consistent discography with albums like Rip the Jacker being breathtaking at best & then Mind Control being unlistenable at worst. Now I haven’t covered Bis’ music since Kaiju which was an impressive comeback after & 6 & a half years away, but was thrilled when Johnny Slash was enlisted behind the boards for Self Licking Ice Cream Cone.

“S.L.I.C.C. (Self Licking Ice Cream Cone)” is a haunting yet raw opener to the album with Canibus talking about how y’all can’t absorb the rhymes he records whereas “Slack Jaw Fascists” is a menacing boom bap follow-up telling y’all how he thinks y’all be moving in the rap game. “Every Right Thinking American” has a more chaotic sound to it acknowledging what they call him prior to Hus Kingpin & Rock both tagging along for “The Demi-Side” to ruggedly talk about coming correct on the mic always.

Meanwhile on “Weedabuk”, we have Canibus over some synthesizers letting it be known he don’t give a fuck what people do or so leading into The HRSMN forming like Volton for the gritty “Part 2” to deliver an lyrical onslaught verse after verse after verse after verse. “He, Who Cut Down the Hemp Tree” aggressively belittles those who don’t understand the environment while the song “4 Characters” with Ab-Soul dives into trap turf talking about introducing you to your maker. The penultimate track “Press – PussyPanic Button” returns to the boom bap to get conscious until “Loyalty (Ex Rap Villain, The BKL Dylan)” with Chris Rivers, Kool G Rap & KXNG CROOKED is gully closer about allegiance.

1 Step a Closer to Infinity was just ok to me personally & I hope I don’t come off as disrespectful by saying that, but I actually happened to come away from Self Licking Ice Cream Cone considering it to be better than Kaiju & even amongst Canibus’ best albums to date. Johnny Slash’s production is more consistent than the last one & the bars that the rapping scientist hit much harder.

Score: 4.5/5

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Don Toliver – “Lovesick” review

Don Toliver is a 28 year old rapper from Houston, Texas who caught my attention in 2018 off his debut mixtape Donny Womack along with being featured on “Can’t Say” off his mentor Travis Scott’s last album ASTROWORLD & signed to Cactus Jack Records literally the very next day. Fast forward a year & a half later right when the COVID-19 pandemic started, his full-length debut Heaven or Hell is a bit underappreciated in my opinion & the sophomore effort Life of a Don was solid yet not as good. However, I was still looking forward to Lovesick considering the singles.

“Love Sickness” is a seductive opener produced by Cardo singing about his obsession with his new girl whereas “Let Her Go” works in some synthesizers, a rubbery bass-line & some hi-hats from James Blake & Dez Wright asking if he makes her feel special. Glorilla & Lil Durk come into the picture for the Rodeo inspired 2-parter “Leave the Club” encouraging all the baddies to buss it prior to “4 Me” blending alternative R&B with pop rap & dancehall thanks to Wheezy talking about his lover being the only woman he needs. Also as a longtime Neptunes mark, Kali Uchis killed it with the “Girls Dem Sugar” interpolation.

However with “Go Down”, we have Don over some spacious trap production from Hit-Boy sampling the TisaKorean cut “Backseat” asking his girl if they can fuck in the backseat of his whip just before “Time Heals All” has a shimmery quality to the beat that Allen Ritter brings to the table as he talks about wanting to see how his girl works the pole. “Leather Coat” is another 2-parter with a guitar driven trap instrumental feeling like she can’t hear him leading into the irresistibly catchy “Honeymoon” embracing synth-funk with the help of KAYTRANADA talking about how he can love her & hate her at the same time.

Cardo’s entrancing production throughout “Private Landing” is really impressive as Future & surprisingly Justin Bieber in one of his best performances I’ve heard in a while personally both hop on board to confess that they feel stuck while the cloudy “Slow Motion” expressing the desire for his girl who just wants to go dancing to tell him what she’s hoping. “Do It Right” is a pop rap/alternative R&B hybrid with some future bass undertones co-produced by Boi-1da encouraging to go back to his girl’s place, but then “If I Had” is a remarkable R&B duet with Uncle Charlie Wilson that DJ Dahi laced about keeping the love forever.

The final leg of the album begins with the 3rd installment of the “Company” trilogy wondering how she feels inside over a twangy trap beat while the song “Bus Stop” with Brent Faiyaz is a peppier vibe with Hit-Boy on the boards once again to tell his girl how much he needs & wants her to fall in love with no issues as Brent dedicates his verse to all his bitches in the drop top. The penultimate track “Cinderella” has a synth-based instrumental from Ronny J calling this a love letter & “Encouragement” is a wavy send off to the album detailing a way he’s never felt before.

“No Pole” psychedelically starts the deluxe run with Cardo & DJ Fresh linking up addressing a woman that simply don’t wanna strip anymore while “Embarrassed” featuring Travis Scott reunites the pair for melodic trap joint boasting about their sexual encounters with women, expensive jewelry & drug usage. “Geronimo” ethereally calls out everyone who hates him now always being nonbelievers from servin’ white & molly caps to sharing the stage with Justin Bieber & the final bonus track “Luckily I’m Having” featuring Teezo Touchdown throws it back to the 80s talking about women wanting to have fun like Cyndi Lauper.

Some people consider Life of a Don to be a sophomore slump even though I myself enjoyed it albeit not as much as Heaven or Hell, but Lovesick is unquestionably the most average body of work he’s offered the world so far. It’s most certainly the most conceptual we’ve ever heard him on the lyrical front & the production catering to the futuristic R&B/soul kind of sound that he was shooting for.

Score: 3/5

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Tha God Fahim – “Iron Bull” review

Tha God Fahim is a 26 year old MC/producer from Atlanta, Georgia notable for his affiliation with Griselda Records as well as being 1/3 of the Dump Gawds alongside Mach-Hommy & Your Old Droog. We also can’t ignore the massive discography that he’s managed to build for himself, some of the standouts include Breaking Through tha Van Allen Belts & Dump Assassins. He just teamed up with Camoflauge Monk a month ago with the 3-track offering Dark Shogunn Assassin & is now enlisting Nature Sounds to back his 40th EP.

“Man of Steel” opens the EP with some kicks, snares, pianos & a flute as Fahim elevates to new levels whereas “Turbulent Nights” has a more shimmering quality to the beat as he talks about cash ruling & how fly he is. “Tha Ladder” takes a more symphonic route grinding to reach a certain level of mastery & that he does this shit for the culture, but then Your Old Droog joins him on “Makin’ Rounds” comes through with some old timey keyboards as they talk about money making the world go round.

However on “Flame Wreck”, we have Jay Nice accompanying Fahim over ominous production to make sure those who dare to step up to them just before the Dump Gawds come together for the woodwind-infused “Let’s Make a Deal” asking if one can keep themselves strong. The song “Battleship” is a piano boom bap ballad about being military minded while the penultimate track “Food for Thought” displays some remarkable back & forth delivery between him & Droog over a drumless loop. “Story Exit” however sends things off on a soulful note acknowledging he can’t be great without discipline.

It’s wild as fuck to think how far Fahim has come as an artist with a discography as ever-growing as his throughout the past 8 years because Iron Bull has respectfully succeeded Dark Shogunn Assassin as my favorite thing that he’s dropped in 2023 yet. In just a month, the Dump Legend is continuing to elevate his pen-game with an undeniable determination & the production is more hypnotic yet varied than last time.

Score: 4/5

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Yeat – “Aftërlyfe” review

This is the 3rd full-length album from Portland rapper Yeat. Coming up in 2018 off his debut EP Deep Blue $trips, he would followed up with 2 mixtapes & 3 more EPs before beginning to dominate the mainstream in 2021 whether it be him dropping a total of 4 projects (2 mixtapes, an EP & a debut album) or cosigns from the likes of Drake & Earl Sweatshirt. He eventually signed to Geffen Records, who backed his sophomore effort albeit major label debut 2 Alivë a little over a year ago & then a deluxe EP Gëek Pack shortly after. But coming off “Rich Minion” & his 5th mixtape Lyfë last summer, Yeat’s picking up where he left off with the Aftërlyfe.

“No morë talk” opens things up with some farty synthesizers & hi-hats from BNYX of Working on Dying talking about riding with his demons whereas “Shmunk” embraces the rage as the only legitimate feature on the album YoungBoy Never Broke Again tags along so they can flex their mob ties. “Bëttr 0ff” admits that he could give a fuck less of what others say & has no time for the fuss over a bell-infused trap instrumental from Bugz Ronin, but then “Rav3 P4rty” has a more dance influence to it courtesy of dulio talking about being on the edge.

Meanwhile on “Nun id change”, we have Yeat over a more robotic instrumental wishing that he could feel leading into “Woa…!” talking about how he ain’t friendly nor does he leave the crib without the strap over a wavy trap beat. “Now” comes through with an experimental sound courtesy of BEAUTIFULMVN confessing he hears voices when geeking just before “Slamm” throws it back to his earlier work sonically as dude steps on his opposition.

“7 nightz” comes through with some additional synths & hi-hats estimating that he’s been fucked up under the influence for about a week while “Mëan feen” is a piano trap ballad coming around shootin’ & slidin’ all over town. “How it go” is a dedication to the lifestyle that he lives today over a vigorous instrumental while “Sum 2 do” brings back the rage beats so he can remind everyone that he’s the one shaking the game up.

Moving on to “Back up”, things take a more cavernous tone instrumentally as Yeat admits that he’s relapsed on percs while “Split” comes through with an explosive hypertrap jam that ChaseTheMoney & Internet Money Records in-house producer Synthetic put together dedicated to Bentleys & women who want to be as rich as him. The self-produced “Bad bënd (DëMON)” was actually recorded 2 years ago yet it stands as a favorite of mine in the track-listing from the intoxicating beat to the lyrics about doing whatever he wants while “Hëavyweight” declares himself as champion over some bass & hi-hats.

“Watch” has a more minimal sound this time around as he advises those to sit back & see how he does it when he drops while “Shhhh” has a booming bass-line talking about being nowhere near the same level as anyone else in the game. “Back homë” is an acoustic trap cut comparing & contrasting his life then & now while the song “Type monëy” finds him swerving over a melodic beat. The penultimate track “Dëmon tied” opens up about the Devil watching his eyes over a hazy instrumental & “Mysëlf” ends things to a tribute to being true to oneself with a beat kin to “Can’t Stop It”.

This was actually a bit different than what I normally expect to hear from Yeat, but I most certainly welcome it & am curious to hear if he continues to go down this rabbit hole later on in the year. His knack for catchy songwriting remains in tact as the production this time around is significantly more experimental than his previous efforts & the 3 alter egos that he introduces throughout each have their own uniquely distinct characteristics.

Score: 3.5/5

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Vic Spencer – “Greenthumbs Meets Trigger Fingers” review

This is the 6th EP from Chicago, Illinois veteran Vic Spencer. Throughout the past decade or so, he’s made up a lengthy solo discography for himself with highlights including the Big Ghost Ltd.-produced The Ghost of Living to the Sonnyjim-produced Spencer for Higher trilogy. Last time we heard from Vic was over the fall when he dropped the Stu Bangas-produced I.M.P.a.C.T. (I Must Punch a Car Today) & here we are 3 months later with him enlisting 38 Spesh behind the boards so Greenthumbs can meet Trigger Fingers.

“Fireproof” is a jazzy opener about how he’s gotten better with age whereas “Chicago Heights” with The Musalini takes a more funkier yet orchestral approach as both MCs get boastful on the lyrical front. “Match Made in Heaven” has a more solemn approach sonically asking what you do with the same 24 hours as him prior to the lavish “Summertime Crimes” talking about doing a lot of shit on his own.

The song “Wisemind” with Rome Streetz has a more mystical beat as they touch on their wisdom while the penultimate track “Hog Tied” over an organ-laced instrumental cashing out on broke rappers. “Hard to Get” with Rasheed Chappell is a groovy closer talking about hitting them drums in the slums like blues percussion.

I.M.P.a.C.T. (I Must Punch a Car Today) wound up being my favorite project that Vic dropped last year & Greenthumbs Meets Trigger Fingers is on par if not superior in my personal opinion. The performances from the features are a bit more consistent than they were on the last EP, but that doesn’t stop Spesh’s production & Vic’s lyricism gelling as well as they do with one another.

Score: 4/5

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Shakewell & $uicideboy$ – “Shameless $uicide” review

This is the brand new collaborative EP between Shakewell & the $uicideboy$. The latter is a well regarded underground duo from New Orleans with the other being a recording artist out of Los Angeles that Ruby da Cherry & $crim signed to their very own Virgin Music imprint G*59 Record$ during the pandemic. The trio have a couple songs together like “Venom” & “Solutions” but considering that the boy$ have a few collab EPs with fellow G*59 signees Germ & Ramirez, it was only right for them to get one in with Shakewell in the form of Shameless $uicide.

The title track sets it off with the trio getting locced the fuck out accompanied by a somber trap instrumental whereas “Whole Lotta Grey” works in some synthesizers & hi-hats talking everything that they got. “Gutter Bravado” keeps the futuristic sounds going as all 3 of them spit that gangsta shot while the song “Went to Rehab & All I Got Was This Lousy Shirt” is an eerie trap banger about half men, half demigods. The penultimate track “6 Lines, 2 Dragons & a Messiah” has a more shimmering quality to the beat sampling “Tire Shop” by Gangsta Blac as they refer to themselves as the founders until the spacious closer “Big Shot Cream Soda” gets to the paper.

It’s always interesting when the $uicideboy$ link up with another one of their artists signed to G*59 Record$ for a collaborative EP & not only do I consider Shameless $uicide to be amongst my favorites of the bunch, but it makes me hope that this is only the beginning from them & Shakewell going forward. There are some interesting ideas with the production & the chemistry between everyone on the mic is better than it was on DIRTIESTNASTIEST$UICIDE a couple months back with all respect to Germ.

Score: 3.5/5

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Logic – “College Park” review

This is the 9th full-length album from Maryland rapper, singer/songwriter, producer, author & Twitch streamer Logic. Emerging just over 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. However, it’s no secret that the quality of his music took a nosedive from Bobby Tarantino to 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. His final offering for Def Jam Recordings that dropped last summer Vinyl Days happened to be his most artistically definitive yet, already cementing my excitement for College Park.

“Cruisin’ Thru the Universe” starts off the album with some acoustics & a futuristic boom bap instrumental as Logic & RZA speak on riding through in their spaceships whereas “Wake Up” takes a more vibrant route with some kicks & snares detailing his journey. C Dot Castro tags along for the 2-part “Lightsabers” with a jazzy opener & a delicate switch-up calling out those who did this music shit for the money leading into the dusty “Clone Wars III” letting y’all know what this culture really about.

Moving on to “Redpill VI”, we have Bobby over some spacious boom bap production calling his flow non-binary & boasting that he never misses just before “Playwright” has a more drumless approach talking about balancing the life as a recording artist & a father. C Dot Castro returns alongside ADÉ, Big Lenbo & Fat Trel for the trap posse cut “Gaithersburg Freestyle” repping the titular city, but then “Insipio” has a more moodier tone to it talking about true wealth being measured in experience as opposed to gold.

Redman joins Logic on the Statik Selektah-produced “Self Medication” working in some kicks, snares & strings as the pair informing those who don’t know that now they do with Family Guy/American Dad! creator Seth MacFarlane singing the outro while “Shimmy” with Joey Bada$$ pays homage to the late Ol’ Dirty Bastard over an atmospheric beat with some piano chords resembling the ones used during “Shimmy Shimmy Ya”, which the song is of course named after & is interpolated during the hook. “Paradise II” is a jazzy/neo-soul crossover picking up where the original “Paradise” left off while “Come Down” is a triumphant trap hit expressing his desire to have it all.

Meanwhile on “Village Slum”, things returns to the boom bap with a melodic vocal loop discussing alcoholism while “Highlife” goes into more pop rap territory talking about how he feels whenever getting blowed on a daily basis. The song “38.9897 °N, 76.9378 °W” with Big Lenbo & C Dot Castro finds the trio paying homage to the place where it all began over a piano instrumental while the jazzy penultimate track “Ayo” with Bun B & Lil Keke samples “Knockin’ Down Doorz” by the late Pimp C as they talk about laying low. “Lightyear” though is an 8 & a half minute closer flipping one of my favorite Kendrick joints “Rigamortis” promising to never change.

Although I still think Vinyl Days stands as Logic’s finest body of work to date, I still think College Park is still worth the listen for anyone who wants to hear him take it back to his roots. Some lackluster feature performances here & there, but the production is on par with that of his Def Jam coda & the whole concept of taking us through a day of his life with his friends back in 2011 actually comes from a heartfelt place.

Score: 3.5/5

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