Yeat – “Lyfestylë” review

This is the 5th studio album from Portland, Oregon 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 full-length debut) 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. Coming off his 5th mixtape Lyfë couple summers ago alongside Aftërlyfe & the experimental 2093, he’s back to rep the Lyfestylë.

“Geek Timë” is this rage-inducing opener with Yeat boasting that he hits with the 10 instead of the 5 whereas “STFU” takes the Memphis route instrumentally sampling “Test My Nutz” by 2 Low Key to talk about being outside with the rag. “They Tell Më” heads back towards a hypertrap direction even though it’s one of the more repetitive moments lyrically, but then “Heard of Më” maintains a rage vibe altogether thanks to both Internet Money Records in-house producer Synthetic as well as venny talking about being geeked up like a God.

Moving on from there, “Speedball” sticks to the signature sound that many have come to know him for gettin’ this motherfuckin’ bag carryin’ a Glock by side in the process leading into “U Don’t Know” keeping the rage beats going leaving everyone who eventually tried him dead. “Orchestratë” has these prominent horn sections throughout that I found myself enjoying running it back up every weekend just before the sinister “Bë Quiet” featuring Kodak Black talks about being way too rich.

“The Costës” continues the dense, buzzing synth work with repetitive chord progressions & melodic synth leads wantin’ to know what y’all need so he can do the opposite while “Go2Work” featuring Summrs finds both SlayWorld members over a hypertrap instrumental comparing themselves to demons lurking during the evening. “Gone 4 a Min” suggests that maybe he’s bad for his own good throwing it back to Ye formerly known as Kanye West’s 4th album 808s & Heartbreak with the beat while the synth-driven “Forever Again” asks a dead man walking if he remembers him.

As for “On 1”, we have Yeat turning the rage back up shrugging off the lyfestylë is what others wants to be instead of them thinking they actually be living it out here while “Flytroop” maintains a hypertrap aesthetic dissing Lil88. The bassy “Eliminatë” talks about not needing a lamp or light since he already knows where the fuck he’s at while “Lying 5 Fun” flexes that he’s on a new level as further justified by 2093 & everyone else thinking he was done hooking up more synthesizers & hi-hats.

“New High” featuring Don Toliver psychedelically finds the pair dropping braggadocio while the synth-trap crossover “So What” admits to being fried. The title track featuring Lil Durk energetically sees both of them rockin’ out while “God Talkin’ Shhh” addresses everyone who thought of him as a pilgrim. “Lyfë Party” asks shawty if she’s being real on top of promising shit hasn’t changed & “Fatë” ends with him ridin’ with the windows down in this bitch.

Starting the deluxe run, “Project Lyfestylë” is this siren-heavy dedication to his Field Trip Recordings & Capitol Records imprint Lyfestyle Corporation while “For Lyfë” asks if anyone would want to do this with him for the rest of their lives. “Night Come” talks about feelin’ himself since he’s high as Hell at the moment & wanting to know why you so basic over more synths & hi-hats while the raging “5Brazy” featuring Quavo on the remix interpolates “TURNMËUP” spazzing out.

“Barbarian” futuristically dares y’all to come out & fool his squad with all them sticks they’re carrying while the blaring “Gravëyard” talks about Lyfestyle party wanting everyone to come on in & bring a friend. “Gonë” sticks to his hypertrap guns suggesting that he could be trippin’ while “Style Lyfë” showing off his flytroop status once more. The final bonus track “Back Thën” ends the deluxe complexed between not wanting to be alone & those who won’t leave him alone.

2093 marked a stylistic departure from Yeat since he took on more of a industrially experimental hip hop sound in comparison to rage & if you were disappointed in that previous LP even if I think it’s the best thing he’s ever done, you’ll probably find yourself preferring Lyfestylë. The production mainly returns to the hypertrap sound that made the Portland star a household name with additional elements of pop rap & experimental hip hop showing off a handful of new obsessions whether it be telling lies, gazing with wonderment at lights, threatening to cut people’s heads off like the Red Queen.

Score: 3.5/5

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Ian – “Goodbye Horses” review

This is the full-length debut studio album from St. Louis, Missouri rapper/producer Ian. A member the D1shonorable collective, he got his start in 2019 producing the single “Know That” by Izaya Tiji before going on to release 3 EPs of his own: Only for a While, Remembrance & the gyo-produced Empty Suit. Akon’s brother Bu Thiam signed him to his Columbia Records imprint Buvision Entertainment this spring for his previous EP Valedictorian, which received mixed responses although I personally found to have it’s highlights like “Chauncey” & “Magic Johnson”. 5 months later, he’s coinciding with his rival Yeat by dropping Goodbye Horses.

“Showboat” is this futuristic drill opener talking about not knowing what this adversary does even if they do it real good whereas “‘Till I Die” works in some horns & hi-hats brushing off those with their fundamentals down tryna kick it with him. “3.5” takes a cloudier route instrumentally thanks to WondaGurl getting geeked just before the synth-driven “On the Floor” boasts that the gas in his bag could put a man on the moon.

As for “My Call”, the bass gets turned all the way up so Ian can oddly talk about the high road not doing anything except making you a loser leading into “Out West” having probably my favorite beat on the album from Rio Leyva & Taz Taylor of Internet Money Records keeping it true to himself. “Shit Sad” featuring Chief Keef heads for a Chicago drill direction talking about how high they are, but then “End Up Gone” was an mediocre choice of a single promising to die by his homie’s side.

“Older” featuring Reign maintains a cloudy edge taking over the second they got the bag while “Loco” shows off the pieces shipped straight to his front door over more synths. “Hate Me” featuring Lil Yachty was an enjoyable New York drill single showing a tight chemistry from the 2 while “Off That Shit” looks to keep his head in the clouds. The drumless title track featuring Eyesis finishes the LP with both of them taking the highway to the pearly gates.

Ian’s been getting a lot of criticism this year whether it being called an industry plant, a Yeat ripoff, “the new Lil Mabu” & most notably one of my favorite artists Tyler, The Creator accusing him of mocking trap pioneers Future & Gucci Mane during his SpringHill interview although I don’t see a connection to either or. Anyway in regards to Goodbye Horses, I wound up liking it less than Valedictorian. His performances are ok as are a couple of the guests’, but sxprano’s production proves to be much less interesting. “Out West”, “Shit Sad” & “Hate Me” however stand out as some of Ian’s best songs much like “Chauncey” & “Magic Johnson”.

Score: 2.5/5

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Benny the Butcher & 38 Spesh – “Stabbed & Shot 2” review

Here we have the 2nd collaborative LP between New York rappers Benny the Butcher & 38 Spesh. One comes straight outta Buffalo becoming 1/3 of the core Griselda Records trio & the other hails from Rochester. There was even a point in time where Benny was signed to TCF Music Group years before Griselda went on to take over the underground altogether & they’ve worked with each other numerous times over the course of their careers. 6 years later, they’re linking back up for a sequel to Stabbed & Shot.

After the “Still Better” intro, the first song “1st of April” produced by V Don starts with a dreary boom bap instrumental talking about being staples in their corners whereas “High Stakes” finds the 2 showing off their street ties maintaining a dark atmosphere to the beat. “Thruway Music 2” is a sequel to a highlight off the first Stabbed & Shot continuing where the predecessor left off prior to “Who Really the King?” talking about people acting like family when that isn’t an action word over strings, kicks & snares from Chup.

“Center Stage” heads for a soulful direction thanks to Harry Fraud reminding us that they actually be living that life just before the 2nd & final single “Brick Specials” comparing their lifestyles to that of a lit movie. The lead single “Jesus Arms” featuring Busta Rhymes was a step above the b-side from the Bink! beat to the mobster-themed lyrics, but then “Hometown Hero” talks about their statuses in Buffalo & Rochester respectively.

Dave East & Klass Murda join Benny & Spesh on “Bad Guy” pointing out the fact that some don’t show you love until you start catching Ws while “Money Counter” hooks up some sampling teaching us that jealous friends happen to be the most foolish in the circle. “Internal Affairs” featuring O.T. the Real brings the trio together over a raw Daringer instrumental bringing it hardcore while the STREETRUNNER-laced “Intent to Sell” gets back on the hustling tip.

The song “Coke Runs” featuring Ransom gets the encore of Stabbed & Shot 2 going by making it clear that you haven’t seen the impressive traits that they all share in the past while “Watchlist” gives off more of a jazzier vibe to the beat talking about making $100M requiring risk. The closer “Power” featuring Elcamino finishes the Stabbed & Shot sequel talking about power becoming the cause of separation in the room while “ICE” looks at both sides of the streets they played. The titular freestyle lastly shows a back-&-forth chemistry from them for 3 & a half minutes.

Much has changed in the interim in the past 6 years including the respective statures of Benny & Spesh as they have both grown, elevated & evolved. Stabbed & Shot 2 though has made it’s case in being the rare sequel that surpasses it’s predecessor with Benny returning to his roots by reconnecting with the TCF founder to go on another round of paper chasing shooting for a sound that can only come from experienced street hustlers.

Score: 4.5/5

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Kurious – “Majician.” review

Kurious is a 54 year old MC from the Upper Westside of Manhattan, New York who originally came up under the moniker Kurious Jorge. He later signed to Columbia Records over 3 decades ago for the underrated full-length debut studio album A Constipated Monkey after shortening the stage name, returning 15 years later for the independently released sophomore effort II followed by a couple EPs: Koncrete Jungle & Monkeyman. For his 3rd LP however, Kurious has interestingly signed a new deal with Rhymesayers Entertainment & the late underground icon MF DOOM overseeing its creation before his untimely passing.

“Unknown Species” starts with this playfully jazzy intro hitting y’all with that funky new shit whereas “Untainted” puts more emphasis on funk music instrumentally talking about how the streets be promoting as much as it’s riddled with crime. “‘Tis the Season” soulfully feels compelled to spit the smartest within reason leading into “Eye of Horus” conveying urgency by weaving a complex tapestry of history & insight the midst of ducking through & under each pocket in the beat.

As for “1984”, we have Kurious over a sample that throws it back to 4 decades prior getting his b-boy bag lyrically just before “Teach & Forgive” brings a dusty boom bap flare to the table talking about everyone bring sinners & referring to the Earth as primal. “Separation Anxiety”, happens to be this a personal bloodletting in the form of lyrical exercise over this raw synth-driven instrumental, but then “Cow’s Eye” hooks up some horns to talk about feeling emptiness in the heart & the stomach burning being part of the game.

“Bacalao Opera” hops over a vocal sample charging it to the fact of protecting one’s inner vision while “Majical Journey” brings the synths back talking about respecting time so that it eventually respects us. “Barry Gibb” keeps the keen ear for sampling on display treating his people as if they’re royalty & “Par for the Course” featuring Mr. Fantastik makes drum breaks from the early Reagan era sound totally revitalized keeping this this thing of theirs crackin’.

The penultimate song “Open” featuring Homeboy Sandman nears the end of Majician. with both MCs on top of this drumless beat wanting to know exactly what the motive is recalling an unpleasant or embarrassing experience in the past that others would rather forget right after the “Majic” interlude, the closer “Come Back” has this symphonic vibe that I enjoy throughout addressing those who want the payoff & never craving chaos.

A mesmerizing blend of technical wizardry & personal introspection, the radical amount of work Kurious put into his Rhymesayers debut cements his place as one of the premier MCs of his time in addition to substantiating the legacy he has long deserved & removing all ambiguity from the question of whether he can stand as one of the premier MCs of his time. Mono En Stereo’s production feels nostalgically reminiscent to DOOM’s material & Kurious himself steps up his lyrics compared to his previous EPs.

Score: 4/5

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03 Greedo – “Hella Greedy” review

Pioneering Detroit trap producer Helluva producing the 17th mixtape in Los Angeles emcee, singer/songwriter & producer 03 Greedo’s discography. Emerging under the original moniker Greedy Giddy, he went on to release a total of 14 tapes ahead of his DJ Mustard-produced debut album Still Summer in the Projects & the Kenny Beats-produced sophomore effort Netflix & Deal both receiving significant acclaim. He has since dropped 1 more LP in Load It Up as well as 5 EPs & a couple more mixtapes, the most recent being the Fucc Everybody EP from this spring. That said, I felt Hella Greedy could be Greedy’s strongest since his first EP Meet the Drummers produced by Travis Barker.

“Still in Shocc” is a Detroit trap opener flexing that he went from Steve Urkel to Stefan Urquelle like it’s Family Matters whereas “If I’m Scared” has a ghostly atmosphere to the Motor City’s unique take on trap music talking about beating the feds & even coming clean that he’ll do it again. “Still Feel Loaded” serves as a sequel to the highlight loaded off Still Summer in the Projects that’s on par with the predecessor, but then “Kill Me” spaciously shrugs off all the fake love.

Peezy joins Greedo on a successor to “Militant” off Money Changes Everything discussing their titular tendencies over a mellow Detroit trap instrumental just before “DayQuil” laughs off everyone who thought they were poppin’ turning the tables on them that they took the fake pill refusing to roll silently. “Good Girls 2” featuring Vae Vanilla happens to be a soulful follow-up to the Lil Boof song that Giddy was featured on surpassing it leading into “Went Left” featuring G Herbo pulls from drill music showing off their mob ties.

“Sum’n Pretty” featuring Rob49 was an underwhelming choice of a single wasting this beat fusing Mobb & trap music in favor of underwhelming romance bars while “Tear It Off” makes up for it jumping over these 808s & luxurious pianos so he can continue the lustful themes except he’s improved on them in comparison. “Take My Time” heads for a cloudy trap direction instrumentally addressing someone who promised to hold him down while “Move” finds him moving on to someone else.

Meanwhile on “Good Taste”, we have Greedo setting off with this exuberant trap joint showing a boastful side to him while “Ketchup” aggressively talking about making money as of late. “Devil Offa Me” easily stands out as an introspective moment on the tape tryna shaking off Satan’s baggage while “Escalator Elevator” talks doing no stepping showing a Detroit trap influence again. “R.I.C.O.” featuring Maxo Kream turns the eeriness up to 11 saying real ones don’t worry of catching a racketeering cage & the closing track “Move 2” ends with a harder sequel to “Move” talking about riding for his homies.

I’ve been waiting for Giddy to drop a project on a caliber that would make it stand out unlike anything he’s done before much like Still Summer in the Projects, Netflix & Deal and Meet the Drummers all did ever since he finally came home. A year & a half later, he’s finally done it. Helluva whips up the most consistent batch of beats that Greedo’s been on top of since being released from prison & even if the features are 50/50, the Watts representative himself is the best since he’s sounded in 5 years.

Score: 4/5

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Pharrell – “Piece by Piece” Soundtrack Review

This is a brand new soundtrack EP from Virginia producer, singer/songwriter, rapper, fashion designer, film composer, entrepreneur, Billionaire Boys Club/Icecream founder & Louis Vuitton’s creative director for men’s fashion Pharrell. Cementing his legacy as 1/2 of the greatest production duo of all-time The Neptunes alongside Chad Hugo, they would eventually form the side project N*E*R*D with their debut album In Search Of… going on to become a classic inspiring Tyler, The Creator amongst others. Even his 2006 solo debut In My Mind would become one of the most underrated albums ever made, even though he’s discredited it himself as “being written out of ego”. G I R L during my junior year of high school received mixed reception although I personally still enjoy the pop soul/contemporary R&B vibe of it pay tribute to all the women in his life (Case in point: “Lost Queen / Freq”). He celebrated his 51st birthday in the midst of an ongoing lawsuit with Chad over the Neptunes trademark by releasing his 3rd mixtape Black Yacht Rock: City of Limitless Access on an exclusive website possibly in response to James Blake’s recent comments in regards to streaming & coincided the release of his new LEGO biopic Piece by Piece that I saw earlier tonight by putting together 5 new tracks.

After the colorful “It’s Happening” intro, the title track is a synth funk/pop soul crossover with additional instrumentation from Brent Paschke of the former Star Trak Entertainment power pop act Spymob on electric guitar & even the Princess Anne High School Fabulous Marching Cavaliers where Pharrell himself graduated in 1992 singing about how good it felt for his hard work to pay off whereas “Virginia Boy” featuring Tyler, The Creator finds the 2 taking the jazzy boom bap route instrumentally repping Virginia & California respectively.

“L’EGO Odyssey” gives off a heavy triumphant vibe from the horns to the choir vocals in the background thanks to the Budapest Scoring Orchestra & the Voices of Fire respectively, making way for Skateboard to sing about the universe being a university for the soul in addition to being thankful for your dreams & encouraging everyone to build them piece by piece while the 5th & final original song “For Real” ends the soundtrack EP on an upbeat note waiting for some kind of sign like a meteorite or some kind of magic to make him feel real.

Piece by Piece itself was a well-put together biopic with interviews from Pharrell, his former N*E*R*D bandmates Chad & Shae Haley, Gwen Stefani, Kendrick Lamar who Pharrell recently called 2024’s MVP, Timbaland, Justin Timberlake, Busta Rhymes, JAY-Z, WWE Hall of Famer Snoop Dogg, Pusha T, N.O.R.E., Missy Elliott, his mentor Teddy Riley & 海水浴猿/ヒューマン・メイド founder ニゴー who’s currently gearing up for his upcoming 3rd album 私もニゴを知っています!. Pharrell’s production varies between synth-funk, pop soul, jazz rap, boom bap & orchestral music as opposed to the prominent psychedelic pop/contemporary sounds of Black Yacht Rock further demonstrating his unique versatility.

Score: 4/5

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Mr. Cliffnote – “Duly Noted” review

This is the full-length debut solo album from Detroit emcee Mr. Cliffnote. Starting in 2006 off his eponymous debut mixtape, he would form the duo Sidenotes with the homie B-Side a little bit after that & went on to drop the sophomore tape Path to Notification followed by the Note to Self EP a few years ago, the latter of which I reviewed positively. Ahead of Path to Notification 2 however, Cliff’s celebrating his born day by releasing Duly Noted.

“New Jax” produced by Foul Mouth starts with a soul sample & Cliff mapping out the heart of the city instead of tryna party with the now disgraced music mogul Puff Daddy a.k.a. P. Diddy or Diddy whereas “Built fa Dis” takes the boom rap route instrumentally thanks to Nick Speed welcoming y’all to his church & asking to sing him a hymn. “Gonzo Outside” works in more sampling talking about still collecting chickens when he’s dead & gone prior to the slow jam “What’s It Gonna Be?” discussing not hesitating to throw away the goldmine when it’s go time.

Meanwhile on “Win Man”, we have Cliff fusing elements of trap & soul together thanking the most high for collecting all the Ws in his career leading into “Dreamin’ Season” maintains the soulful chops & hi-hats to talk about now being time to put the effort in instead of daydreaming all day. “Would Not Pay” gives off a classy boom bap vibe telling the story of a woman who got him saying all types of shit he wouldn’t find himself saying, but then “We Don’t Know You” featuring Fat Ray & Stretch Money brings the trio together for a nearly 3-minute Detroit trap heater.

“Pose fa da Photo” jumps on top of this delicate sample pointing out that you can get popped in his neck of the woods hence why he always carries a .44 Magnum on him while “Fuck Shit” goes for a summery boom bap flare telling everyone coming at him as a result of Talib Kweli unnecessarily dissing him to get off his dick. “Strathmoor Kid” has my favorite Detroit trap beat on the LP courtesy of DJ Jewels cautioning not to trip when you pitchin’ & them fastballs hittin’ just before “Soul Proprietor” featuring Kuniva finds the pair giving y’all food for thought over a boom bap instrumental that Ilajide cooked up.

Pushing towards the final moments of Duly Noted, the song “Movin’ Up” returns to a Detroit trap sound flexing that they don’t make ‘em like him anymore even if Rich Starz’ auto-tuned hook does absolutely nothing for me with all respect & “Gold Chain” ends on the soulful boom bap note with the help of Sterling Totes telling everyone listening to do things for hip hop culture that others out here won’t even do for themselves.

Kweli going at Cliff was further confirmation of what I said in my Liberation 2 review about Talib & one of my top 10 producers Kanye West in the sense that both of them are established veterans with an insane amount of artistic talent who publicly make asses of themselves on the regular since the apple really doesn’t fall far from the tree in the grand scheme of things other than Kanye having a bigger platform than Kweli does. Duly Noted though has now become Cliff’s best work. The production that Foul Mouth, Nick Speed, DJ Jewels & Ilajide offer a unique mix of old & new sounds within the Detroit landscape & Cliff steps up his A-game lyrically.

Score: 4/5

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Nvy Jonez LKR – “583” review

Brooklyn emcee Nvy Jonez LKR teaming with Man of Many Hats for his 4th EP. Coming up in the summer of 2019 off an eponymous debut EP, he would go on to expand his profile in the underground within the last few years by follow it up in the form of Black Popeye as well as a tetralogy of collab EPs with D-Rell called the Chicken Spot series. Last I covered NVY was his previous EP A.L.T.D. (Angels Loyal to Demons) produced by Accosta the Man & the Undertaker vs. Kane collab EP with Chop the Father, but is starting a new saga of EPs with 583.

After the “All Hands” intro, the first song “Gator” is this boom bap opener flexing that he’s all over the borders with different lawyers whereas “Québec” maintains a darker tone instrumentally welcoming everyone to the danger zone. “R.A.S.” featuring Cruu Lee brings an unsettling atmosphere to the table hoping all the vultures die slowly while “A.E.L.” featuring Sham Blak strips the drums calls these goofies crazier than Gnarls Barkley. The closer “Up 2” drumlessly ends the EP promising it’s forever up & he stay slangin’ truths.

583 tells a wavy & grimy tale of how Nvy Jonez LKR & Man of Many Hats both swerved through life from the streets to the military and back considering the fact that both of them first met in San Diego whilst serving the US Navy. The production is a mix of boom bap & drumless, both features are also fellow veteran artists who just so happen to be making waves in the hip hop scene on their own accords & the New York lyricist recalls sets out to make the future installments of this new series reflecting on his upbringings & time serving our country.

Score: 8/10

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Maddog McGraw – “Michigan & the Mecca” review

Lansing, Michigan emcee Maddog McGraw teaming up with Ras Beats for his 2nd EP. In the last 7 years, he’s gone from his debut EP Green Beret & both Grumpy Old Man mixtapes to the debut album Shit Talking 201 from the summer prior. His uncommon versatility whether it’s vivid storytelling, delivering sensual sexy grooves or rugged & raw bars give a well rounded spectrum of the art form and Michigan & the Mecca caught my attention with Jake Palumbo doing the engineering.

The title track starts with this boom bap instrumental with an organ-sample referring to himself as the underground greyhound whereas “Neanderthal” works in an atmospheric backdrop with kicks & snares dissing those who’re lyrically subpar. “Church” maintains a boom bap sound letting it be clear that this is the end of the search for those who’re looking for hip hop at its purest while “Disorderly Conduct” ruggedly talks about the lyrical aggression poetry packing punches.

“Magnificent Misfit” keeps it in the basement instrumentally serving Fatalities to new jacks on the mic like it’s Mortal Kombat & “Shit Talking 202” serves as a welcoming spiritual successor to his debut. “Right Here” dustily boasts that the neighbors give them studio applause once they’re done & “Rebel Yell” passionately talks about coming too far to fair at this point his career. “Black Man’s Blues” finishes the EP by showing a consciously introspective side to him.

Michigan & the Mecca showcases the different sides of Maddog McGraw’s lyrical ability as he takes you on a tour through Lansing showcasing his Southern roots, storytelling rhymes, clever wordplay & superior braggadocious rhyme schemes so Ras can bring his whole arsenal out by giving Maddog an array of chopped up synths, choirs, horn stabs, basslines, guitars & synths to express himself to.

Score: 4/5

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Tha God Fahim – “Machine Gun Vocabulary” review

I’m pretty sure this is the 23rd full-length studio LP from Tha God Fahim. Starting as an affiliate of 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. But dude has been on a CRAZY ass EP run in 2023 with the standouts being the Camoflauge Monk-produced Dark Shogunn Assassin, the Nature Sounds-backed Iron Bull & the Nicholas Craven-produced Dump Gawd: Shot Clock King 4, the Oh No-produced Berserko, Fahim’s last EP Dump Gawd: Rhyme Pays produced by Mike Shabb, Tha Supreme Hoarder of All Pristine Wealth & more recently Supreme Dump Legend: Soul Cook Saga produced by Cookin’ Soul from a few weeks ago. Dump Goat II mixed 9 new songs with 10 previously released joints & some of the guests on Machine Gun Vocabulary produced by Cartune Beatz caught my attention.

The title track starts with a reversed sample mixed with kicks & snares so he can gut & filet all these MCs who wanna battle him whereas “Volatile Vernacular” featuring RJ Payne works in another boom bap instrumental talking about haters meeting all types of death. “Detonate” hooks up some ghostly sampling flexing that his name rings bells like Biggie kickin’ in the door until the piano-driven “Prolific Pen” featuring Cormega finds the 2 talking about their superiority in the long-awaited collab.

“Brilliance” grittily promises this as the start of something big & major leading into the hardcore “Audible Ammunition” featuring Skyzoo talking about nothing controlling them. “What You Wanna Say” featuring Lørd Skø jazzily finds the new poor Lørd Jeff Hardy & the Dump Gawd giving Stone Cold Stunners, but then ”Prove & Show” returns to the boom bap talking not slowing down because he has a family to feed. “Cleanse” nears the end of the album comparing himself to Errol Spence Jr. & “Damages” finishes up with 1 last dusty track maintaining a winning streak.

For this being the 3rd LP of Fahim’s to come out this year, I’d put Machine Gun Vocabulary above Dump Goat II & behind Supreme Dump Legend: Soul Cook Saga. Cartune Beatz’ boom bap production is incredibly consistent over the course of the 27 minute listening experience & even if it’s not a surprise that all the guests killed it with their contributions, the Dump God makes it all live up to the name comparing his lexicon to that of an SMG.

Score: 4.5/5

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