Future – “Mixtape Pluto” review

Atlanta, Georgia rapper & singer/songwriter Future finally giving us his 14th mixtape. Coming up as a member of the Dungeon Family thanks to his cousin Rico Wade of Organized Noize, he officially made his debut in 2012 with Pluto & would later follow it up with a hot streak of modern day trap essentials like like Honest, Monster, Beast Mode & my personal favorite of his: D.S. 2 (Dirty Sprite 2). However since 2017, Future has mostly been painting himself in a corner & prioritizing quantity over quality. I mean sure HNDRXX took a more sensual approach & SUPER SLIMEY showed a pretty great chemistry with fellow trap trailblazer Young Thug, but Beast Mode 2 was a step down from the predecessor & he got with Juice WRLD to put out a collab tape that literally should’ve never happened: WRLD on Drugs. Finally at the very beginning of that next year, The WIZRD was just passable even though it showed NO artistic evolution whatsoever & Save Me was a decent attempt at being more vulnerable, High Off Life admirably found him staying true to himself in the midst of trying new things & I Never Liked You put the toxicity claims about him to rest. Metro Boomin’ reunited with Future for We Don’t Trust You & We Still Don’t Trust You, refining Pluto’s previous double album FUTURE HNDRXX & becoming his best since D.S. 2 (Dirty Sprite 2). 5 months later, Pluto’s continuing his best run in a decade with what DY said was originally a 56 Nights sequel.

“Teflon Don” is this trap opener produced by both Southside & London on da Track talking about beating the 1st case like John Gotti & being the boss calling shots whereas “Lil Demon” flexes his bitch a princess cut over a synths & hi-hats. “Ski” gives off a psychedelic trap vibe thanks to Smatt Sertified with co-production from his mentor Southside to talk about being ready to slide while “Ready to Cook” makes it clear that he’s prepared to make some dope over this solemn Wheezy instrumental.

Meanwhile on “Plutoski” we have Future trappin’ out the trap itself over this suspenseful ass trap beat just before DJ Champ & Taurus help him get personal with the highlight “Too Fast” discussing moving quicker in life than he should be. “Ocean” instrumentally radiates a haunting atmosphere in time for Halloween next month courtesy of Honorable C.N.O.T.E. & Dez Wright admitting he has enough tears to fill the ocean for all these losses took in this shit, but then the grisly “Press the Button” gets back on the road with the thangs & in the cut with the gang.

“MJ” woozily ends the first half of the tape getting activated from the monkey juice on the verge of going crazy the way she take the sex with the help of Romil Hemnani prior to DY helping Southside embrace his distinctly known gangster, bombastic, gritty, rambunctious & menacing trap sound for “Brazzier” throwing up gang signs & going brazy. “South of France” featuring Travis Scott on the remix hard-hittingly details his expensive lifestyle & drug use while the ethereal “Surfing a Tsunami” that Che Pope co-produced advises not to be careless with this rich behavior.

The sampling of “The Hills” by The Weeknd mixed with hi-hats throughout “Made My Hoe Faint” are pretty distinct recounting his numerous monetary achievements & shows of wealth while the druggy “Told My” talks feeling higher than Jesus. “Oath” hooks up background vocals & hi-hats breaking the law while “Lost My Dog” finds FNZ & ATL Jacob stripping the drums for a Rico Wade tribute. “Aye Say Gang” ends Mixtape Pluto with a bassy trap joint motivating the young homies.

Continuing his best run since the mid-2010s, Future comes off the 2 best albums in his discography in almost a decade We Don’t Trust You & We Still Don’t Trust You for a tribute to his late uncle & mentor alongside the era from which he emerged sounding like André 3000 under the Meathead stage name. The production mostly handled by Southside is much darker than his So Icey Boyz counterpart Metro allowing Plutoski to take it back to his roots.

Score: 4.5/5

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MC Lyte – “1 of 1” review

MC Lyte is a 53 year old emcee from Queens, New York who is widely regarded as amongst the pioneers of female rap. Her first 4 albums Lyte as a Rock, Eyes on This, Act Like You Know & Ain’t No Other were released through First Priority Music/Atlantic Records to positive reception as was her Elektra Records debut Bad as I Wanna B. Responses towards her 2nd & final Elektra offering 7 & 7 were more mixed while Da Undaground Heat & Legend are both regarded as the weakest entries in her discography. Nevertheless, I was still curious about her 9th LP since 2024 has been the year of the comebacks.

After the titular intro, the first song “Thank You”featuring Muni Long is this lavish opener produced by Nottz talking about lighting the fire whereas “Life & Luxury” takes the soulful boom bap route instrumentally thanks to DJ Scratch talking about an ungrateful adversary. “King King” featuring Queen Latifah continues to chop up the soul samples paying homage to men & after the “Sunni Block Barber Shop” interlude, “To Rock the Mic” works in a funkier groove to the beat from Warryn Campbell promising to keep ripping it lyrically.

The 2 & a half minute hardcore hip hop anthem “1-5” talks about how it takes skills to rip microphones & it’ll pay your bills if you’re lucky enough just before “Make a Livin’” boasts that she’s the live art in the gallery. “All Day All Night” with Easy Mo Bee behind the boards ends the first half of the album by tackling themes of romance, but then “Lyte Ghost Lil Mama” featuring Ghostface Killah & Lil Mama finds the trio over a dusty boom bap beat talking about the game being unattractive to them.

“Kick Back Relax” goes for a calmer approach telling everyone bringing negativity her way to kick rocks & after the “Vote 4 Change” interlude, “Change Your Ways” featuring both Common & Stevie Wonder has to be one of the most thought-provoking cuts here encouraging to make a change in your life. The captivating lead single “Woman” featuring Big Daddy Kane & Salt talks female empowerment while the soulful “Alright” that Cory Mo laced encourages that all will be fine. The final song “Music Is” following the Easy Mo Bee interlude ends 1 of 1 by telling us it’s all she does.

I personally haven’t enjoyed an MC Lyte project since Bad as I Wanna B almost 28 years back & her first offering in nearly a decade proves to be a 2nd coming of age now that she’s at a different place spiritually as well as yet another example of hip hop’s veterans returning to form. She showcases her signature blend of love, braggadocio & storytelling to inspire, uplift & educate listeners over some of the best production that I’ve heard backing her in quite a while.

Score: 4/5

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Lil Tecca – “Plan A” review

New York rapper, singer/songwriter, producer & Galactic Records founder Lil Tecca back with his 3rd LP. Blowing up in 2018 after signing a distribution deal with Republic Records & the viral single “Ran$om”, it would later be included on his debut mixtape We Love You Tecca that same year & would receive lukewarm reception although it’s truthfully grown on me a tad bit over the course of time. His debut LP Virgo World was released during the pandemic & is widely considered to be the weakest entry in his discography. The last time we heard from Tecca was a couple summers ago when Internet Money Records founder Taz Taylor executive produced a worthy sequel to We Love You Tecca & Tec from last fall showed maturity to the point where I recanted calling him a 1-hit wonder when Virgo World came out. Nearly a year to the day, Tecca’s commemorating by dropping Plan A.

“Taste” produced by Taz Taylor, Rio Leyva & Vendr showcases Tecca’s extensive selection of women over a cloudy trap instrumental to get the ball rollin’ whereas “Bad Time” works in some hi-hats & horns noting his dissatisfaction with the way some women in particular treat him. “120” goes for a futuristic atmosphere to beat reminding us that he’s not new & he’s been here, but then the rage-inducing “I Can’t Let Go” featuring Don Toliver locks in with Bugz Ronin to talk about still trappin’ out private projects.

The rattling trap vibes of “Vogue” are pretty fun admittedly boasting that life’s a bitch & he thought it was extortion further advising to send him your location while “24HRS” instrumentally feels skeletal despite him tryna keep his significant other on his mind. “2” cloudily brushes off Tecca’s side bitch tryna run the show & reposition herself as his main just before the atmospheric “Never Last” co-produced by venny discloses to his previous partners that they were easy to replace.

“Homebody” ends the first half of the LP on the cavernous trap tip gettin’ straight to business keeping the confidence instead of talking while the moody “Self2Self” explains everything dying soon as money gets involved & being rich longer than getting that Lawrence graduates degree. The cloudy “Separate Ways” asks if one took a different path if he’s M.I.A. switching with the technology leading into the synth-driven “Time & a Place” talking about having no time to waste whatsoever.

As for “4U”, we have Tecca dreamily telling this woman she’s lucky he even made the time for her & droppin’ dimes on her while the acoustic trap hybrid “Flowers” that BryceUnknwn cooked up confesses he didn’t know the hoe was gonna set his ass up. “Cold Girls” hooks up more at synths & hi-hats cutting off a lying bitch while the spacious “Mama” explains how risky shit got when he almost moved out west. “D1” playfully balls out telling the fakes running from life to face it & “All the Time” cloudily ends things talking about not overstepping.

Rather than making Plan A into this culmination of his career thus far, Lil Tecca instead takes the chance to reflect on the journey up to this point. Internet Money Records’ production evolves the sound that he’s spent the last few years cultivating & the general theme of his music career being all that he wants to do in life without a backup is truly motivating since you always got people talking about having a plan B.

Score: 3.5/5

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Blu & Exile – “Love (the) Ominous World” review

One of the most well regarded Los Angeles, California hip hop duo Blu & Exile are back for the 4th album in their discography. Their 2007 full-length debut Below the Heavens: In Hell Happy with Your New Imaginary Friend is rightfully considered by many to be one of the best hip hop albums to come out within the past 15 years, receiving a nod on “Radio” off Vince Staples’ final Def Jam Recordings album Dark Times a few months ago. They went on to release a follow-up in 2011 with Give Me My Flowers While I Can Smell Them as well as the 2017 rarities compilation In the Beginning: Before the Heavens & the previous LP in the B&E canon Miles: From an Interlude Called Lifeserved as their last to be distributed by Fat Beats Records. 4 years later, Dirty Science Records is now joining forces with Soulspazm Records to help put out Love (the) Ominous World.

“Hello L.A.” perfectly begins sampling soul music talking about life in south central whereas “Undisputed” takes the boom bap route instrumentally going for a hardcore approach from a lyrical angle on top of it. “Smack” featuring Fashawn is this dusty jazz rap collab leaving muhfuckas on the curb mumbling their last words, but then “Homies” featuring Cashus King & Pistol McFly serves as a soulful dedication to their dogs & their squad.

Moving on from there with “Sugaz & Buttaz”, we have Blu & Exile joined by Rae Khalil for a summery ballad about missing the lovin’ from their respective partners in life just before “Gold” returns to the boom bap refusin’ to take a break since he got all his chains on looking to stay fly. “Chucks” featuring Kurupt & KXNG CROOKED ruggedly serves as an ode to their Converse Chuck Taylor All Star sneakers leading into “Suge” aggressively expressing his frustration with some of these dudes acting like bitches.

“Ominous World” featuring RBX finds them keeping it in the basement sonically taking us on a journey through the shadows of the trenches while the song “Precipitation” brings another soul flip to the table talking about rain being good for the health every now & then. The penultimate track “Valley of Kings” strips the drums completely talking about the possibility of having to do it all over again & lastly, Emanon joins Blu & Exile for “Love is Blu” to end the 4th classic B&E album talking about love being here over a jazzy boom bap beat.

Every single project these 2 have done with one another remains special in their own different ways & Love (the) Ominous World achieved this by brilliantly building on their soulful, reflective foundation with stunning musicality & sharp songwriting venturing into new territory while embracing & refining what made them special. It’s easily their most unique work to date since they took a different approach with the direction while still staying true to the culture their music has built with their fanbase.

Score: 4.5/5

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Babystaydown – “Hate da Way Um Livin’” review

This is the 7th EP albeit Cegular Records debut from Athens, Georgia recording artist Babystaydown. Introducing himself off his debut EP PL Top Recruits as well as 1,350 and Drugz Sex & Money, the latter of which spawned a sequel of it’s own this spring succeeding 17 & preceding his final independent release Genesis later in the summer. Signing to Whyceg’s newly formed Sony Music imprint not too long ago, he’s ready to artistically take himself to the next level on Hate da Way Um Livin’.

We get a bubbly plugg instrumental on the intro “Over It” promising his hoe that they’re gonna smash once he returns from the road whereas “FaceTime” brings a cloudier trap vibe to the beat talking about there being no cap in his raps unlike all these other clowns. “Hijack” gets geeked up for 134 seconds taking the plugg route instrumentally & after “Mink Coat” talks about his preference in freaky women, “M.I.A.” produced by Ayelavish! alongside SOULJASPIRITS & Whyceg ends the first half explaining that he’s living better.

“Deceiving” starts the backend of Hate da Way Um Livin’ with a minimally atmospheric beat talking about a woman that he feels like having mileage whilst being self-aware of the swindling advantage looks can have while “Creole” embraces a pluggnb direction talking about wearing ア・ベイシング・エイプ shirt & Ksubi jeans. “Doomed” yearns to give a bitch shrooms & take her to the room so he can smash her leading into the title track finishing with confidence that he’ll be ok.

All that hustling Babystaydown has done on SoundCloud these past 16 months have finally paid off not simply based off the fact that he’s signed now, but also because Hate da Way Um Livin’ surpasses every single one of his earlier extended plays as the greatest one of them all musically. The plugg production has elevated significantly since the Athens artist began & his gangsta-themed lyrics have gotten sharper.

Score: 4/5

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BLAX – “BLAXPLOITATION” review

This is the 3rd full-length studio LP from Milwaukee, Wisconsin emcee/producer BLAX. Breaking out in 2012 off his debut mixtape BLAX x Life x Files followed by the debut EP Archangels & the debut album Be Well, he temporarily changed his moniker to Armstrong Ransome for his sophomore effort Dedicated & the 2nd EP Found before returning to the BLAX moniker on the next couple EPs Angeline & Wembenyama. Fast-forward only 5 months after the latter, BLAXPLOITATION here was brought to my attention & I gave it a shot.

“Dark Fronto” is this self-produced psychedelic boom bap opener telling his babygirl to come over pronto with the titular tobacco leaves & taking it as far as she wants to while “Blessed” takes the trap route instrumentally expressing his gratitude of being where he’s at currently in life refusing to rest. “Ballerina” kinda goes for a lo-fi vibe to the beat making all these muhfuckas out here dancing whereas the title track soulfully talking about his soul being made of gold.

The reversed sample throughout “Lil Boosie (Set It Off)” was a dope touch referencing a highlight off his 3rd album albeit major label debut Badazz leading into “Teenager” working in kicks, snares & luxurious pianos to talk about all of us being lost looking for a savior since everyone’s sinners in this land with blood on our hands. “Interpretation of Dreams” was a great choice of a single creating a captivating blend that highlights BLAX’s unique talent by combining clever samples with introspective storytelling.

“On My Soul” pushes further towards the final leg of BLAXPLOITATION by heading for a jazzier direction to the beach talking about freeing his soul while “Magician” maintains a mellow sound generally talking about living large & bold except it sounds unfinished, especially since he could’ve laid another verse instead of letting the instrumental ride out during the 2nd half. “Intelligent Beings” finishes the album quirkily asking what in the world is the world

Delivering a rich blend of beats that elevate its timeless appeal with its engaging storytelling and captivating hooks, BLAXPLOITATION achieves its promise of continuous replay value as a standout addition to hip hop & to The God Degree Records founder’s discography period. It captures the essence of classic hip hop while incorporating modern elements, ensuring it resonates with both longtime fans & new listeners alike.

Score: 4/5

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Molly Santana – “Masonic Musik” review

This is the 3rd EP & major label debut from Los Angeles, California up-&-comer Molly Santana. Originally a streetwear influencer, the Fontana native began making music in 2021 by releasing her debut EP Molly’s World as well as her debut mixtape Neptune & her 2nd EP Mélange. Her eponymous full-length debut studio album just came out this spring to moderate reception, resulting in her signing a joint deal with Victor Victor Worldwide & Capitol Records. 5 months later, she’s continuing to apply pressure on Masonic Musik.

Supah Mario & Synthetic of Internet Money Records’ psychedelic trap production on the opening track “Greenlight” is actually a fun way of kicking things off talking about not wanting to take it slow with her lover on top of turning the world into her brand new speaker whereas “Want” works in some hi-hats & even some elements of dance music thanks to Vendr telling her new man that he’s the only one she wants encouraging him to open up as to exactly what he’s been running from.

“Nothing Like This” goes for a bombastic approach instrumentally with co-production from Tom Levesque of Vanguard Music Group to talk about people never seeing anything like the shit she’s on while “So Lost” has these rage undertones shrugging off that she knows everything that’s goin’ on when others say she don’t know a lot. The trap/dance-pop hybrid “Windows Up” talks about people turning on her & “Tell Me Nun” and ends the EP refusing to let anyone knock her off her spot over a cloudy trap beat.

Of the 5 projects that Molly has under her belt so far, Masonic Musik for only a 6 track/15 minute EP surpasses the level of quality that her self-titled debut LP had set earlier in the year & solidifies her place in the trap subgenre of hip hop. The production’s more hard-hitting than a lot of her earlier material top to bottom, enigmatically exploring mystical & urban themes along the way. Between her & Hardrock being on Victor Victor now, I’m ready for what their debut albums on the label have in store.

Score: 3.5/5

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Pyrex Whippa – “Sincerely, Rex” review

Pyrex Whippa is a 27 year old producer, rapper, singer/songwriter & audio engineer from Baltimore, Maryland notable for being a member of the seminal trap production team 808 Mafia. It should also be said that this isn’t even the first body of work that he’s put out, releasing a debut EP Separation Anxiety in the fall of 2019 & having his mentor Southside produce his 2nd one Blood on the Hills roughly 13 months later to more positive reception followed by Thanks for Holding On & Guns ‘N Romance. Sizzle gave us his full-length debut album Break the Silence under Epic Records last month & Rex is following suit.

“Burning Bridges” starts the album better than I thought it would singing over a groovy, drumless instrumental telling the homies he got them whereas “Screamin’” produced by Smatt Sertified takes the cavernous trap route calling out a hoe for playing with his love & couldn’t see it from the very beginning. “Met Gala” hooks up a reversed sample & hi-hats promising to get the ladder instead of the table & “Baby” further puts an emphasis on atmosphere going crazy for his new girl.

As for Unfair”, we have another pop rap/trap cut asking this woman how she gon’ do him the way she did since it was incredibly undeserving while “No Mercy” strips the drums again hopping over a bare guitar displaying the merciless side of himself. “Void” keeps it drumless dissing an ex because of the fact that her heart doesn’t make a sound & his shakes the ground, but then “DND” brings the hi-hats in again talking about the mode he’s in.

“Vacuum Sealer” goes for a spacious, bassy vibe to the beat discussing shit getting musty in the mansion & it’s so hard to miss this bitch the way he misses those racks leading into the plentiful trap banger “Wat I’m On” talking about making it out of the trenches & reaching the upper echelon. “All Wrong” despite the cloudily instrumental has some of the weaker subject matter throughout the LP that is until “Buddha Man” has a delicate trap tone generally shrugging off those treating him average.

The song “Skeletons” removes the drums from the equation encouraging the people in his life to do the right thing by grabbing his hand when he falls while the acoustic “All 4 U” sings about leaving it how it is after fucking around with his heart. “Exhale” finally closes Sincerely, Rex in the form of 1 last trap joint letting a homie with mob ties know that he’s refusing to let him leave on him tryna play it cool with ice in his veins.

Break the Silence as a commercial debut for Southside was disappointing compared to the Trap Ye mixtapes since his lyrical performances weren’t the best except I did appreciate the risk of departing from the signature sound that the 808 Mafia co-founder is known for. Pyrex’s debut here happens to be the better of the 2 surprisingly. The production here is more interesting bringing balance to drumless & trap displaying his life on wax.

Score: 3.5/5

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Jay Worthy & MadeinTYO – “Time After Time” review

Vancouver, British Columbia, Canada born albeit Compton, California raised emcee Jay Worthy as well as Honolulu, Hawaii born/Tokyo, Japan raised rapper, singer & producer MadeinTYO joining forces for a new collaborative EP fully produced by the latter. One of whom has been grinding in the underground for the last 7 years & the other landing a spot in the 2017 XXL Freshman Class producing Ransom’s latest EP Smoke & Mirrors earlier this summer. However, Mr. Tokyo’s continuing to apply pressure by linking up with Jay for Time After Time.

After the intro, the first song “Master Delux” is a drumless opener to the EP with both of them provide the soundtrack to motherfuckers making bread whereas “Nino” jazzily keeps the drums out the picture boasting that the paper be doing double flips in their dreams. “School Daze” hops over yet another bare jazz loop refusing to lay up having work to do prior to “Chop” drumlessly talking about having the milk & not referring to dairy whatsoever.

“Fashion Week” maintains the jazz rap vibes working some drums in this time hoping that God forgives them for their fortunes & after the interlude, “London Carry-On” goes drumless again keeping extra sugar in their sweet tea. The final song “Antiqua Barrio” telling wack MCs to get off the mic being black as they are Off-White & the outro finishes the EP with a 3-minute instrumental piece.

Like I said a couple months ago during the Smoke & Mirrors review: I’ve never considered himself a MadeinTYO fan other than maybe “Uber Everywhere”, but he & Jay Worthy cooked up a collab EP that’s as enjoyable as THE AM3RICAN DREAM. His production’s more jazzier than it was on the Ransom EP keeping it prominently drumless in addition to that & lyrically, he & Jay Worthy ping off each other impressively during the course of the 24 minutes you get out of Time After Time.

Score: 4/5

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Bloody Ruckus – “Resurrection of the Broken Reflection” review

Bloody Ruckus is a 31 year old MC from Suamico, Wisconsin starting out in 2009 by releasing his debut EP Coming Out the Woods. This was followed up with the full-length debut Nightmarez from the Rez: The Rage, which was a popular piece of morbid art locally. The sophomore effort My Bloody Valentine after his 2nd EP Dark N Cold saw him gaining international attention since it came out around the same time as he infamously filmed a woman’s finger getting chopped off & her blood being drank a month after the 17th annual Gathering of the Juggalos in 2016, which was the last Gathering that Majik Ninja Entertainment performed at before they & Psychopathic Records severed ties only 6 months later. Scum signed Bloody Ruckus to Lyrikal Snuff Productionz once coming home & is following up his LSP debut Funeral Macabre with his 4th album.

“Vengeance” is this EVIL trap metal opener to the LP making it known that he’ll leave you in a body bag with the rest of your entire crew whereas “Night Terrors” featuring Rece’s Aura takes the cloudy trap route instrumentally talking about dragging the chains through the frost. “Cowbell Demon” turns the bass up to 11 daring anyone to step inside his slaughterhouse at their own risks & “I’m Gonna Nut in Your Urn” demonically calling out pussy muhfuckas.

DOWN6 joins Bloody Ruckus for “This World Hates Me” so both of them can get in their emo rap/trap metal bag for nearly 3 & a half minutes just before a personal highlight for me “Stop Glorifying Rats” angrily lashes out at people that praise snitches, which I am fully on board with. “Bright Lights” hauntingly encourages to let Lucy open up everyone’s 3rd eye whether you’re doing DMT or shrooms, but then “666 Up in da Sky” featuring C4$PA fuses g-funk & horrorcore excellently regardless of the average guest appearance.

“Misanthropic” kinda has this EDM flare to the beat detailing his dislike for humanity altogether hence the title leading into “Welcome 2 Wicked Wisco” mixing elements of both g-funk & trap together representing Suamico & the underground wicked shit scene as a whole. “Flatline” heavily warns everyone that anyone who takes him for a joke will be left with hollow tips in ‘em while “Modern Atrocities” featuring Warlord Colossus demonically talking about their brains not being the same.

As for “Say No More”, we have Bloody Ruckus eerily giving us a glimpse of his gangsta mindset living by the gun while “Lord of Grudge” unsettlingly talking about running out of medication watching shadows crawl again. “Omega” is this horrorcore/electronic dance hybrid leaving full clips in the mouths of anyone running their mouths speaking ill towards him while “Every Dog Has His Day” uncannily addresses the titular expression.

“Wendigo” nears the end of the Resurrection of the Broken Reflection getting on the rap rock tip once more referencing the evil spirit originating from Algonquian folklore while “Bring ‘Em to the Darkside” featuring Donnie Menace, DOWN6, S.O.S. & Saw da Ghozt comes through with a 6-minute posse cut with a reference to the inaugural IWGPヘビー級チャンピオン, former 12-time WWE world champion, WWE tag team champion, 2-time WWE Hall of Famer & Real American Beer founder Hulk Hogan. “Reflejo Roto” heinously talking about being a broken reflection of a man & “Eternity” ends by hellishly painting himself as a demon on the throne.

Crazy to think that this the same guy who filmed that woman’s finger getting chopped off & her blood being drank because I vividly remember when the news of that broke out & never would I have thought that he’d sign to LSP & return home with his best album yet. The production’s more darker & refined than Bloody Ruckus’ previous material, overcoming all obstacles & letting new listeners know who he is.

Score: 4/5

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