Juicy J – “Ravenite Social Club” review

Memphis, Tennessee rapper, songwriter, producer & record executive Juicy J coming off the Mental Trillness duology to release his 8th solo LP. Rising to stardom in the 90s as the co-founder of the seminal Three 6 Mafia alongside his Tear Da Club Up Thugs cohorts DJ Paul & the late Lord Infamous, he’s also had the most successful solo career out of everyone in the Mafia whether it be the Taylor Gang Entertainment/Columbia Records-backed Stay Trippy & Rubba Band Business: The Album or more recently Crypto Business & Mental Trillness. The latter & it’s sequel noticeably taking on a more serious tone than some of Juicy’s latest material, taking a good chunk of it’s time coping with Gangsta Boo’s untimely passing. Further diverting from the norm, he’s going jazz rap in the Ravenite Social Club.

After the “Provider” intro, the first song “The Higher Ups” further sets the tone of what’s to come hopping over a jazz boom bap instrumental from longtime Griselda affiliate JR Swiftz dissing corporate America whereas “Don’t Go Out” works in some pianos as well as kicks & snares advising not to go out the way Paul Castellano of the Gambino crime family did. “That’s Gangsta” keeps it boom bap explaining how hard it is to be splitting 50/50 with his bitch, but then “Everything All Good” has a warmer trap approach telling us he’s been doing ok.

“Fucked Up Era” hooks up some horns describing what he was living in for the past year & a half or so that resulted in both Mental Trillness albums prior to “Thought It Was” strips the drums completely boasting his luxurious ways of living. “Deserve It” has this orchestral boom bap flare to the beat dedicating it to all the independent shawties ahead of “The Past is the Past” colorfully leaving everything behind him for approximately 116 seconds.

The self-produced “Consequence” mixes these pianos with kicks & snares reminding the listeners of the most valuable lesson a person can learn in their lifetime while “Payment” swaps the keys out in favor of synthesizers admitting The Notorious B.I.G. wasn’t lying when he said “Mo Money, Mo Problems” using his own experiences. “1 in 1,000,000” hops on top of more horns advising what a dangerous lie it is that you don’t have to work just before the soulfully drumless “Suicide Doors” featuring Cordae warns to get a bag before you beef since you’ll need money for war.

“The Bottom Line” continues to chop up the soul samples smoking & drinking 1 for old time’s sake while the 4 minute “To You” pays tribute to Lord Infamous, Koopsta Knicca & Gangsta Boo over Robert Glasper playing piano. “Sometimes” further pushes the closure of the Ravenite Social Club for the night soulfully asking if you needed someone to talk to & no one was there while “Things Changed” promising he’ll be there when his baby falls automatically telling her yes if she ever calls him.

Beginning the deluxe run, the drumlessly jazzy “In Plain Sight” disses the haters for wanting to see him torn down legalizing products to sell at the same price while “Fit the Mode” featuring Project Pat puts a mature spin on trap generally talking about the best thing in the world being a woman by your side. “Could’ve Been Worse” goes boom bap reminding that you only get 1 chance to make it while “Enemy Lines” angrily warns what happens once you cross a specific path.

“Just Listen” jazzily advises everyone who’s still tuning in for them to take care of their business while “Dizzy” drumlessly reflects on spending most of his time denying what the heavens planned & refusing to fake the funk anymore by letting the prophets come true. The final bonus track “Point ‘Em Out” featuring Remy Ma goes trap for a dedication to all the real women & not trying to risk being around the bitches who’re fake.

Both installments of the Mental Trillness duology were greeted to mixed reception although I personally appreciate them for being more introspectively serious than some of Juicy’s past solo material & now that we finally got Ravenite Social Club after 8 months in the making, it could very well be my favorite of his since branching out on his own & he’ll even tell you that himself. It’s a change of pace with its production building upon the sounds of jazz rap, boom bap, drumless & chipmunk soul focusing less on trap taking the overall maturity a step further.

Score: 4.5/5

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Pradabagshawty – “10 Freak Ho’s” review

This is the 3rd extended play, the 2nd of 2024 & Cegular Records debut from Columbia, South Carolina born albeit Atlanta, Georgia rapper Pradabagshawty. Introducing himself last summer off his debut EP Bloxk Addiktion, he would go on to follow it up with 1 Love a few months earlier until Whyceg signed him to his very own Sony Music imprint not too long afterwards alongside Babystaydown. Appropriately, the time has come for him make a wider introduction with 10 Freak Ho’s preluding Forever & After later this fall.

“Go Best Friend” featuring NDO D joins forces over a plugg instrumental talking about their hoes calling them their besties after fuckin’ & once “She Goin’” carries over the plugg vibes in a bubblier fashion getting higher than KiD CuDi, my favorite track here “Ball Me Back” produced by both Whyceg & SOULJASPIRITS reaches the halfway point talking about being fine with this woman getting passed around by the whole crew.

Starting the 2nd half, the song “At All” clarifies that he ain’t fuckin’ with any of these guys or bitches who stay smellin’ over an aquatic trap beat while “Fasting” locks back on with SOULJASPIRITS for another plugg banger talking about taking a break from going down on women. “B My Hoe” featuring ImSoMarcus finishes the EP in the form of this decent plugg outro desiring more money & asking the females around them if they could vibe with them whilst desiring to make more bags.

1 Love sticks out as the best EP we’ve gotten from Pradabagshawty in 2024 despite Bloxk Addiktion, but 10 Freak Ho’s gives the underground a gander at what this Cegular/Sony deal could do for him in the long run & it’s still very much an average listening experience justifying him getting a label deal. The trap & plugg production isn’t as interesting as it was 4 months earlier, with the lyricism focusing more on themes of love than his earlier stuff.

Score: 3/5

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Mighty Morphin’ Wackness – “Tour EP” review

Mighty Morphin’ Wackness is an Ohio underground supergroup consisting of Billy D & Kyle Kombs a.k.a. Klokwerk E as well as Mr. 8 Legz & Whipstick or better known as the Super Famous Fun Time Guys. One of whom formed last year & the other became the first act that the almighty Alla Xul Elu signed to their independent Long Live Evil label. The quartet initially teamed up on “We’re Waaaack” off I’ll Tell You When I Want to Laugh By Laughing several months ago. Coinciding their first tour together, they’re cooking up a brand new EP of material as an official unit.

After the intro, the first song “Pull Over” shows off a back-&-forth delivery between all 4 members comedically hoping they hit a rest stop sooner instead of later whereas “Let Me Go” talks about turning everything into a horror flick & only amplifying it. After the “Waaaackest Commercial Ever” skit, the song “Super Spooky” by Kyle Kombs & the Super Famous Fun Time Guys builds itself around the supernatural & “Pussy Farts” ends with a humorous cut about queefs.

Whenever both halves of Mighty Morphin’ Wackness feel the time is right for them to put out a full-length debut studio album together, this quick Tour EP still remains to be an exciting listen for anyone who loves the self-deprecating horrorcore style the Super Famous Fun Time Guys are known for & the distinct originality of the 5th dimensional silver boof brothers Klokwerk E by emphasizing the humorous approach each of them have had to offer in the underground wicked shit scene all decade.

Score: 4/5

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Sabrina Carpenter – “Short n’ Sweet” review

Sabrina Carpenter is a 25 year old singer/songwriter & actress from Quakertown, Pennsylvania notable for being the niece of Nancy Cartwright also known as the voice of Bart on the Fox Corporation’s flagship property’s longest running animated series The Simpsons & starring in the Boy Meets World spinoff Girl Meets World alongside Milo Murphy’s Law on The Walt Disney Company owned Disney Channel. She later signed to Hollywood Records for her first 4 studio LPs Eyes Wide Open, EVOLution, Singular & Singular II until moving over to Island Records for Emails I Can’t Send. She has since become one of the most popular artists in the world & capitalizing off some recent hit singles with her 6th album.

“Taste” was a great pop rock single further pulling from new wave, jangle pop & power pop singing about revenge & betrayal whereas “Please Please Please” featuring Dolly Parton on the remix & produced by Jack Antonoff brings together soft rock, yachty rock, urban cowboy, boogie & synthpop addressing themes of affection, frustration & concern. “Good Graces” fuses dance-pop & trap asserting the importance of setting boundaries in a relationship just before “Coincidence” pays homage to “Big Yellow Taxi” by Joni Mitchell continuing the concept of romantic betrayal.

Elements of contemporary R&B, pop, sophisti-pop, synthpop, boogie & yacht rock seep their way over to “Bed Chem” addressing Barry Keoghan while the smash-hit “Espresso” likens herself to the coffee as her partner can’t sleep when he’s with her fusing nu-disco, dance-pop, boogie & funktronica music. “Dumb & Poetic” reminisces on what her ex lover used to be until ultimately realising he’ll ruin her heart & her life through lies, but then “Slim Pickins” sings about trying to find the right man although unsuccessfully.

“Juno” named after the 2007 film goes over her desire to be pregnant by someone who truly cares about her & her future concept of having a family while “Lie to Girls” sings that men don’t have to deceive women due to the fact that if they like a man, they’ll simply lie to themselves & asking if she knows it better than anyone else. “Don’t Smile” ends Sabrina’s finest work yet mixing bitterness while longing calling back to the intro during the hook while “Needless to Say” starts the deluxe run attacking the lowlifes criticizing her urging them to do something better with their time & lives.

There’s a bit of an AꓭBA influence on “Busy Woman” detailing her willingness to make a change in her everyday-life in order for her new romantic partner to be with her while “15 Minutes” sings about doing a lot on that short amount of time reflecting on how she finds herself at this point in her career with her increasing popularity. “Couldn’t Make It Any Harder” tells an ex that his actions have been making her more detached from him & the final bonus track “Bad Reviews” rounds it out with a commentary on those who don’t like her music & a couple bad gut feelings regarding previous lovers.

Continuing the creative freedom of Emails I Can’t Send, Sabrina’s artistic potential from her debut single “Can’t Blame a Girl for Trying” to Short n’ Sweet is truly a night & day comparison. She explores her love life & her perspectives on dating in the 2020s nearly at the halfway point of the current decade through the sounds of pop, dance-pop, contemporary R&B, pop rock, folk, nu-disco, bubblegum pop, sophisti-pop, synthpop, boogie, yacht rock, funktronica, urban cowboy & trap.

Score: 3.5/5

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Wic Kids – Self-Titled review

The Wic Kids are a horrorcore supergroup consisting of emcees Donnie Menace, Grewsum, ILLtemper & King Gordy as well as producer Stir Crazy. All of whom have crossed paths with one another at some point since everyone’s pretty much established themselves in their own rights whether it be Donnie quickly becoming a Lyrikal Snuff Productionz mainstay, Grewsum being one of the most popular members of the Mission: Infect collective, Gordy & Illtemper forming the duo Even Heathens few years ago or Stir Crazy’s role as part of Majik Ninja Entertainment’s in-house production team. Now that they’ve officially joined forces, the Wic Kids are introducing themselves through an eponymous debut EP.

“Letum Know” starts the EP on some boom bap shit talking about living under the cold streets of your town rolling deep without any limitations whereas “Lightless” takes the symphonic trap route instrumentally discussing evil being everywhere around them. “Toxic” has this acoustic boom bap flare to the beat delving into toxic relationships while “Fried Wires” keeps the kicks & snares in tact explaining they’re wired differently. “DGAF” mixes boom bap with rock talking about giving 0 fucks & “Inhumane” ends the EP aggressively warning to stay clear of them.

Illtemper has been teasing this EP since March & if this is only the beginning for the Wic Kids, then it’s a more than welcoming debut for the supergroup. Stir Crazy’s production is mostly boom bap centered throwing a hint of trap in the mix & all 4 MCs each have their own different takes on the wicked shit like Donnie’s cutthroat wordplay or King of Van Dyke & Harper a.k.a. Blaxl Rose reaffirming his Last American Rock Star status, but hearing them together makes the lyricism much more devastating.

Score: 4/5

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Smallz 1 – “Defiled in the Lavender Fields” review

Smallz 1 is a 36 year old MC from Albuquerque, New Mexico who made her Lyrikal Snuff Productionz debut in 2009 off her full-length debut The Diary of a Black Widow shortly following her debut mixtape Sadistik Stylez. She has since become one of LSP’s most well-established artists putting out her sophomore effort The Crimson Kingdom, her 3rd album Mannequin, her debut EP Hourglass, her previous LP The Process of Elimination & more recently S.O.S.’ debut Blame Us. A week after the 24th annual Gathering of the Juggalos though, she’s putting her 2nd EP out on all streaming platforms.

“Gutted Eyes” starts us off with pianos & hi-hats promising to burn her competition & eventually herself asking why they judge here whereas “Way Below Average” by S.O.S. takes a bouncier trap route instrumentally talking about those who got them fucked up. “Lately” goes full-blown boom bap refusing to trust anyone always fuckin’ shit up, but then “Nevermind” brings the hi-hats back teaming up with her legion of demons to kill y’all.

Beginning the 2nd leg of the EP, the song “Lower Them Down” keeps it trap showing no mercy towards her opposition while “Garbage” ruggedly talks about doing shit better than the rest of these bitches. “Dismembered Wishes” featuring Bloody Ruckus cloudily discusses their lives going on & their haters’ being done leading into the cavernous “Trash Day” callin’ out those who really ain’t gonna do shit. “Pandora’s Box” wraps things up wishing long & enduring suffering on her enemies.

Claas so happened to give us the 3-track EP couple weeks ago In My Head centered around mental health & of the 2 new projects that LSP had to offer the gore hop heads & juggalos, I’m finding myself catering towards Defiled in the Lavender Fields more than The Summoning. Generally, it’s sound balances boom bap & trap allowing Smallz to put her own Lyrikal Snuff spin on those styles.

Score: 3.5/5

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OG Parker – “Moments” review

OG Parker is a 27 year old producer & songwriter from Fayetteville, Georgia who became an in-house producer for Quality Control Music in 2015. He even went on to form his own label Neutral Records in 2021 & produced DDG’s debut mixtape Die 4 Respect around that same time, except I was highly looking forward to that tape only to be disappointed by the time it officially saw the light of day. However, seeing that Parker was putting out a solo EP most certainly caught my interest.

“No Fuss” by PARTYNEXTDOOR starts with what could easily be the best song on the entire EP telling this girl to stay in her lane over a chilled out guitar passage whereas the trap-flavored “Rain Down” by Chris Brown, Latto, Layton Greene & the late PnB Rock finds the quartet continue to delve further into the themes of romance. “Still Work” by Muni Long & Ty$ is a trap soul duet singing about their numbers are both operationally functioning while the dance-inspired trap joint “All I Need” by Yung Bleu furthermore gets lustful. “In Person” by Lakeyah & Tyga ends the EP with a woodwind trap flare flexing they look better in the flesh.

Producer curated projects are generally looked at as being either hit-or-miss & there’s no question in my mind that OG Parker has the capability of pulling of an entire body of work producing songs for other artists & compiling them together. However, Moments stands out as an average beginning of treading those waters. There’s nothing with his signature take on the stylings of trap & R&B music, but some of the performances from the guests themselves are generally a mixed bag.

Score: 2.5/5

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Benny the Butcher – “Buffalo Butch” review

This is the 8th EP from Buffalo, New York emcee Benny the Butcher. Being in the game for 2 decades already, it wouldn’t be until 2016 where he alongside his cousins Westside Gunn & Conway the Machine would take the culture by storm off projects like Tana Talk 3 & The Plugs I Met. Harry Fraud came in for a sequel to the latter following the mature Burden of Proof & finally, Tana Talk 4 took it back to the basement a couple years back. Coming off having Hit-Boy produce half of it & leaving the other half to The Alchemist produce his Def Jam Recordings debut & my album of the year so far Everybody Can’t Go, we’re now being treated to Buffalo Butch only a couple weeks after the previous EP Summertime Butch.

“Penny & Shaq” featuring 38 Spesh starts off the brief 3 track offering hopping over an extravagant beat comparing themselves to Orlando Magic veterans Penny Hardaway & Shaquille O’Neal whereas the For All the Dogs outtake “Buffalo” featuring Drake finds the pair linking up over a sample-driven instrumental from Boi-1da talking about the fact that it’s more when you earn it being iller than the illnesses haters be wishing on them. Lastly, the closer “Hard Way” featuring Fabolous officially rounds out Buffalo Butch on some boom bap shit letting it be known this fly shit ain’t cheap whatsoever.

We’ve only gotten 2 EPs from Benny this month & 3 projects from him in 2024 altogether if you include Everybody Can’t Go, but I still happen to prefer Summertime Butch only because it’s a little longer than Buffalo Butch although that’s not to say I didn’t enjoy the 3 songs he dug up for us here. As opposed to the summer theme of the joint from 2 weeks ago, you only get 8 minutes worth of material shedding 16 minutes off the last one centering itself around Benny’s hometown mentality.

Score: 3.5/5

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Lil Poppa – “Wee Are Who We Are” Review

Lil Poppa is a 24 year old rapper from Jacksonville, Florida emerging in 2019 off his full-length debut Almost Normal followed by the sophomore effort Blessed, I Guess to more mixed responses. Heavy is the Head & Half Man, Half Vamp went on to be received more favorably to the point where Yo Gotti signed him to his Interscope Records imprint Collective Music Group & is making Poppa’s 4th album his official major label debut.

“Reintroduction” is a melodically drumless opener to get us started reintroducing himself to the CMG fanbase whereas “Wee” take a summery trap route instrumentally showing a more carefree side to himself. “Stop Grieving” featuring Baby Drill cloudily talks about the fact that bitches will leave with you nothing in the end just before the guitar-driven “Nowhere Fast” confesses to putting up with her bullshit because he wants her.

Meanwhile on “Bust Fire”, we have Poppa turning the rock trap hybrids up to 11 thanks to Dez Wright acknowledging that things’ll never be the same again & he knows it leading into “Feel the Same When You’re Sober” featuring DeJ Loaf has this pop rap ring to it tackling the themes of romance. “Pin a Tail” hooks up these piano chords throughout flexing that he got bulletproof car doors like Pablo Escobar, but then “Untamed” featuring a reunited Boosie Badazz & Webbie breaks down the untamable personalities all 3 of them possess.

“Quiet Storm” finishes the 1st half of the album on some delicate trap shit putting his trust in these guns while “More Than Enough” talks about feeling the stab wound from being betrayed getting deeper. “No Sympathy” drearily reveals he’s the reason these pussies be laid out on the ground while “IDK What to Say” featuring Blac Youngsta & Spinabenz keeps the trap vibes going promising the streets ain’t safe.

Nearing the end of Wee Are Who We Are, the song “Scared of It” hops over keys & hi-hats talking about showing love to those who might bust his head while “Xoxo” gives hugs & kisses assuring he don’t love these bitches. “3am in Baltimore” featuring YG Teck finds the 2 telling us what goes down in the early hours of the titular Maryland city while the 2-parter “New You < I Hate Poppa Too” breaks down the new him & people who hate him. Lastly, the closer “Letter to Jook” finishes the LP with an open letter to Poppa’s homie.

Poppa as of me writing this happens to be the most recent addition to the CMG roster & his debut under Yo Gotti’s mentorship refines himself artistically compared to his earlier material. The southern trap & pop rap production that the Floridian artist became known for gets refined conceptually building itself around understanding & acceptance.

Score: 3.5/5

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Planet Asia – “Trust the Chain II” review

Fresno, California veteran Planet Asia back with 38 Spesh to produce his 12th EP & a sequel to one is his best EPs in recent years Trust the Chain. Emerging as 1/2 of the duo Cali Agents, he would also go on to have a very successful solo career & has made a lengthy yet consistent discography for himself. This includes The Grand Opening, The Medicine, the DJ Muggs-produced Pain Language, Abrasions, the Apollo Brown-produced Anchovies & Sardines backed by Mello Music Group, the Evidence-produced Rule of 3rds & the Snowgoons-produced U.Z.I. (Universal Zeitgeist Intelligence). Now with the 1-year anniversary of Sardines approaching in a few weeks, Trust the Chain II is finally here.

“Checking Traps” sets the tone of what’s to come with a rich instrumental talking about the whole team out here getting fat whereas “Inertia” takes a cloudier route expressing his gratitude to be alive serving a purpose. “Crumble Cake” works in some pianos preparing everyone for the poisonous arrows that have yet to be unloaded, but then “BBQ” goes head-on boom bap talking about bringing out the drink & partying.

Starring the EP’s other half, “Players & Dons” has a blaxploitation flare to the beat telling us the difference between the 2 types of people while the sample-driven “Illuminati Money” by the General Monks featuring Klass Murda calls out everyone on their weirdo shit. “Upscale” featuring A Plus tha Kid & The Musalini brings a blusier vibe to the table refusing to do deals with bitches in the field & “Greatness” ends Trust the Chain II peacefully brushing off that he’s on some fake shit.

Of the small handful of projects that Asia has given us in the last 11 months, Trust the Chain II easily stands as his best of 2024 so far surpasses last month’s God’s Timing or even last weekend’s Mother & Gun as my personal favorite from the TCF camp. Spesh’s production is more consistent than some of the Fresno emcee’s output in these last 8 months, the features are toned down significantly & the dude himself sounds as focused as he was on the predecessor 5 years ago.

Score: 4.5/5

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