Mike Shabb – “Sewaside III” review

Montréal, Québec, Canada emcee, producer & engineer Mike Shabb looking to round out the Sewaside trilogy for his 3rd mixtape. Coming up in the spring of 2018 off his full-length debut Northwave, he would continue to make his presence known by putting out 6 EPs & his last couple of mixtapes before gaining notoriety for engineering Boldy James’ 5th album Fair Exchange No Robberyalong with producing “Switches on Everything” off Hitler Wears Hermes X & enlisting his mentor Nicholas Craven to fully produce his 5th EP Shadow Moses from top to bottom. Mike just put out the Hood Olympics EP last summer & is now assembling an intriguing guest-list for the mostly self-produced Sewaside III.

The intro starts by jumping over a jazzy boom bap expressing his desire for bank money as opposed to a little stack & that he isn’t even in his prime yet whereas “Doghouse” takes an atmospheric turn instrumentally asking who let the dogs out as well as making sure you count up the bread & never leaving out your homies. After the “We Live in Montréal” interlude paying homage to “We Live in Brooklyn” by the great Roy Ayers, the soulful “Grinchy” strips the drums completely spitting that gangsta shit prior to “Autumn & Fall” jazzily stays solid & ready to take over the game.

Ankhlejohn accompanies Mike on “Free Cars” living & dying by the .44 Magnum over a slow albeit jazzy boom bap beat leading into “Ben Wallace” featuring Estee Nack going drumless once again talking about focusing on the gold referencing the titular Detroit Pistons center. “Free YSL” featuring Da$h brings a morbid atmosphere to the instrumental calling for YSL Records to be released from prison, but then “Hurry Up” returns to the boom bap flexing the super fat racks in his back pocket.

“Hey Young World, Pt. II” comes through with a groovy single to the loosie “Hey Young World” that he dropped exclusively on his YouTube channel a year & a half ago assuring that the world is still your while “Milk Crate” featuring Lørd Skø assembles 2 of the underground’s biggest up-&-comers with a jazzy beat accompanying them talking about being them dudes their whole lives. “Julie” slickly reminisces over rainy days & after the melodic “Transmitting Live from the Real World” interlude, “Free Jesus” featuring Navy Blue & produced by Nicholas Craven turns the jazz influences back up talking about Christ being a shooter.

Boldy James links up with Mike on the drumless single “Big Piranhas” likening themselves to larger versions of the omnivorous fish in a small pond while “Free Jazz” lives up to it’s name perfectly fusing hip hop & elements of the titular subgenre of jazz music breaking free from the conventions & patterns of it’s contemporaries through the use of dissonance, atonality & free-flowing rhythmic structures. “Echoes” strips the drums 1-last time in favors of synthesizers talking about still hearing the gunshots ringing out.

Shadow Moses was easily one of the best EPs from last year & if you still haven’t had an opportunity to check Mike out as an MC, I suggest you listen to that & even Sewaside III here since he just gave us what has to be my new favorite installment of the trilogy surpassing Sewaside II from over a couple years ago. The mostly self-produced offering expands on his drumless, jazzy sound bringing a tight list of guests with him to portray life in the Montréal streets.

Score: 4/5

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Billie Eilish – “Hit Me Hard & Soft” review

Billie Eilish is a 22 year old singer/songwriter & actress from Los Angeles, California being the daughter of Maggie Baird & younger sister of her brother & producer FINNEAS. Signing to Interscope Records in 2016, her debut EP the next summer don’t smile at me was a solid electro-pop & alt-pop effort on top of her debut full-length When We All Fall Asleep, Where Do We Go? fusing the sounds of don’t smile at me with alternative R&B & the sophomore effort Happier Than Ever later primarily basing itself around alt-pop & contemporary R&B. The quality of her music has been steadily increasing with her last couple albums & that had me highly anticipating Hit Me Hard & Soft.

“Skinny” starts us off with atmospheric guitar-laced production talking about falling in love for the first time & pondering if she’s on her way out whereas “Lunch” makes a turn into groovy pop rock territory dedicating it to cunnilingus. “Chihiro” works in a funkier backdrop with some synthesizers asking if she’ll know what to say when she comes back around referencing her love for the 2001 animated masterpiece Spirited Away, but then “Birds of a Feather” ethereally talks about eternal love.

Moving on from there, “Wildflower” takes the stripped-back route instrumentally asking a woman that she often sees in the back of her mind if she crossed the line with her just before “The Greatest” keeps it primarily acoustic until crescending during the last minute & a half or so trying her best to keep her lover satisfied. The 2-part “L’amour de ma Vie” reflecting on a previous relationship she had starting calmly ahead of a dance-inspired 2nd half leading into “The Diner” incorporating heavier synthesizers talking about not being afraid of her since she’s what you need.

“Bittersuite” nears Hit Me Hard & Soft’s by giving us another 2-parter telling her partner she can’t fall in love with them no matter how badly she wants to & being left alone in her hotel suite feeling bitter hence the play on the word “bittersweet” while the closing “Blue” properly rounds out the LP with 1 final 2-part track trying to live black & white despite feeling down, confessing that she only sleeps 3 hours every night & proceeding to tell someone she doesn’t blame nor hate that she can’t save or change them.

To tie things up here, I pointed out Billie’s artistic progression with each project she’s given us in the last 7 years at the beginning of this review & this new album here takes deeming quality of her music to a brand new level. She feels much more like herself detailing who she was when she as opposed to the last couple LPs revolving around a different character. Billie even expands beyond her signature alt-pop sound whilst maintaining the additional elements of alternative R&B, indietronica & singer/songwriter by even dabbling with both indie folk & pop rock here & there.

Score: 4.5/5

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Mach-Hommy – “#RichAxxHaitian” review

I believe this is the 6th proper full-length studio album from Newark, New Jersey wordsmith Mach-Hommy. Breaking out in 2017 when he dropped his sophomore album H.B.O. (Haitian Body Odor) under Griselda Records, he & Tha God Fahim fell out with them shortly after only to reconcile at the end of 2020 & then Mach returned to the label the following spring for the finest achievement in his discography thus far: Pray for Haiti. He then followed it up that same winter with Balens Cho & now only a couple years after the Triz Saga, the Haitian-American emcee is looking to commemorate Haitian Flag Day by releasing #RichAxxHaitian the day prior.

After the “(…)” intro, the first song “Antonomasia” featuring Roc Marciano starts with both MCs perfectly going back & forth with one another on some G shit over a drumless loop from Sadhugold whereas “Politickle” slickly admits to having a monkey on his back & that it’s rather a heavy one. “Sonje” has a bit of a mellower vibe to the beat produced by Georgia Anne Muldrow talking about flipping you like a kush bag out the mobile leading into “Padon” featuring Tha God Fahim keeps it dusty instrumental giving Raw cones since everyone wanted raps from him going to Hell & back with felons.

“Empty Spaces” featuring Your Old Droog strips the drums once again airing out everyone trying to spit the way they do except they’re tying ribbons at the wrong time & they be cutting them at the perfect end, but then “Sur le pont d’Avignon (Reparation 1)” brings a jazzier boom bap flare thanks to Conductor Williams talking about being a warrior rather than a killer. After the “Xerox Clat” interlude, “Gorgon Zoe Lan” hops over a bare sample on the verge of demonstrating a blowout just before “The Serpent & the Rainbow” keeps it drumless explaining how it’s gonna go from hereon.

Black Thought joins Mach on the piano-boom bap combination “Copy Cold” that Quelle Chris laced assuring that it’s all ok while the title track featuring 03 Greedo experiments with hip house & even pop rap thanks to KAYTRANADA detailing their luxuries. “Lon Lon” hooks up some woodwinds, kicks & snares wanting to be left alone & talking about Babylon ahead of the “Aux Bon Parfums” interlude.

“Same 24” featuring Big Cheeko these gorgeous piano chords throughout reminding that we all got the exact amount of time in our lives whether it be days or hours while “Guggenheim Jeune” ditches the drums again cautioning not to let them boys say it’s a wrap & that there’s more than 1 way to skin the cash. “Holy ____” wraps up #RichAxxHaitian on 1 more drumless cut talking about praising the lord attaching a gospel-inspired outro during it’s final moments.

Mach is no stranger to releasing music around Haitian Flag Day since he’s always worn his Haitian roots on his sleeve, but this has to be his strongest offering since Balens Cho about 2 & a half years ago. I’ve always wanted to rep for Haiti and the cultural and intellectual richness we’ve provided the world. You still get the drumless production & abstract lyricism he’s known for except he additionally ventures out into jazz rap, conscious hip hop, experimental hip hop, psychedelic rock, hip house & pop rap along the way.

Score: 4.5/5

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Courtney Bell – “Microdose” review

Courtney Bell is a 29 year old MC from Detroit, Michigan who got started in 2018 by releasing the full-length debut album 10 Commandments followed by the debut mixtape Poverty Stricken in the fall of 2020. As of lately though, he’s been taken under the mentorship of Royce da 5’9” & had an impressive guest appearance on Nickle’s 3rd EP The Heaven Experience about 15 months ago. They’re now looking to take it to the next level by not only helping Courtney land a MNRK Music Group contract, but even having Royce oversee the creation of his sophomore effort.

“For All We Know” starts us off with a cloudy instrumental talking about how this is Hell already & nobody might even be aware of it whereas “Westside” featuring Royce da 5’9” works in some ominous piano chords from The Alchemist so both of them can get in their hardcore bag lyrically. The title track has a summery trap flare to the beat flexing that he’s in his element on top of nobody being able to fuck with him, but then the heavenly “Issues” talks about being lost & life shit helping him figure it all out.

Meanwhile on “Feeling You”, we have Courtney portraying a sensual side to himself over smoother trap production while “Motion” brings a Detroit trap flare instrumentally flexing his hustle. Royce returns on the atmosphere bass-heavy “Banz” produced by Jake One to join his protege in calling out all the bitch ass n****s out there just before Nickel sticks around for the funky “Get ‘Em High” alongside LaRussell, Sol ChYld & Symba with Hit-Boy behind the boards so all 5 emcees can drop straight bars for 4 minutes representing 3 of the 4 regions within American hip hop (the midwest, the east coast & the west) & Sol ChYld making a dope reference to former 3-time NWA World’s Heavyweight Champion, NWA National Heavyweight Champion, WWE Hall of Famer, WWE United States Champion, 2-time WCW World Tag Team Champion & 3-time WCW World Television Champion Dusty Rhodes.

“Swivel” hooks up some pianos, kicks & snares talking about keeping your head on the turn while “Bang” featuring Benny the Butcher & Royce da 5’9” brings the trio together for some rugged boom bap shit killing every rapper in their way. “Word II Conway” dustily asks what’s a soldier to a fraud & what’s the love if it’s lost while “Shit” pulls inspiration from trap again talking about what he be on. “Psalms 82” flips a gospel sample & throws some hi-hats in the mix to ring the alarm that is until the closer “Walk with Me” ends the album by soulfully talking about forfeiting if life’s a game.

To start the deluxe run, “100” featuring Icewear Vezzo gets back on the Detroit trap tip explaining that’s how much is in the safe while the somber “Late Night” talks about either finding his balance or simply coping. “Hebrews 13:6” featuring Skilla Baby contains the best Detroit trap beat on the album thanks to Helluva revolving around the titular Bible passage & the final bonus track “Brother’s Keeper” wraps up with pianos & hi-hats doing it for the ones who can’t believe they made it out the hood.

Being a lifelong Royce fan, I got put onto Courtney through his verse on “Ion Wanna” & my anticipation for Microdose was elevated after learning that Nickel was taking him under his wing. Lo & behold: His debut on MNRK marks his return after 4 years introducing himself to newer fans like myself & giving the people that’s already been following him an update as to what’s been going on in his life since. He presents a completely different perspective on music & his life altogether after taking that time off prioritizing his mental health & this LP will surely help others going forward.

Score: 4/5

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Payroll Giovanni – “Have Money, Have Heart” review

This is the very first EP from Detroit, Michigan rapper Payroll Giovanni. Notable for being a part of the Doughboyz Cashout collective, he also released a dozen solo albums with the most notable being Big Bossin’ as well as Big Bossin’ 2 & Another Day, Another Dollar all fully produced by Cardo. I was however interested in learning that Have Money, Have Heart would be entirely self-produced & felt like it could be his strongest material since Giovanni’s Way.

“Rose Annivesary” is a piano-driven Detroit trap opener encouraging to get the ball again if you fumbled it the first time prior to “Any Kit” taking the spacious route instrumentally talking about getting their shit together, huddling up & stacking their chips as a unit. “600 Benz” works in more keys & 808s flexing that his money stay hustling while “Holding Up My Line” to say fuck the attention unless it leads to business. “$10M Cribs” hooks up some synths cautioning that you’ll go too far to quit once you see his other side, but then “Cashout” ends the EP brings the synthesizers back advising that they’ll hate seeing you ball & laugh if you fall.

Living in Michigan my entire life, I’ve been following Payroll since the Doughboyz Cashout days & further exemplified himself as a legend in the Detroit trap scene ever since branching off from the crew in favor of a solo career. Have Money, Have Heart however lived up to my expectations in becoming his most consistent body of work in a few years joining the Big Bossin’ series & Another Day, Another Dollar as his most essential solo material. His production is still very much centered around the Motor City’s distinctive trap sound working out in the lab rapping without overthinking.

Score: 4/5

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Daniel Son & Raz Fresco – “Northside” review

Here we have a brand new collaborative LP between Toronto, Ontario, Canada emcees Daniel Son & Raz Fresco. The latter of whom I was introduced to during my freshman year of high school off the strength of his feature on former Odd Future member Ace Hashimoto’s 5th mixtape All Day DeShay: AM & the other coming to my radar at the tail-end of 2019 linking up with Futurewave for his classic sophomore effort Yenaldooshi. We’ve heard both these guys together on numerous occasions such as the songs “Dirty Dozens” & “Big Bird”, so it shouldn’t be too surprising that they’re turning things up a couple notches on Northside.

To get us started, “Ice Water” works in a sample with kicks & snares talking about how cold it is where they’re from going back & forth with one another whereas the title track serves as a dusty ode to all the lock-breakers & Glock bleeders from where people get even instead of getting old. “W.C.H.M.F. (Who Can’t Hear Must Feel)” incorporates a string sample explaining that somebody eventually gonna get burned wherever there’s smoke while “Lawyer Fees” soulfully makes some noise in the studio.

“Rusty” featuring Gritfall brings a groovier flare to the beat talking about trying to get rich, but then “Frostbite” goes into soulfully drumless turf referring to themselves as trailblazers where the path is empty. “Last Minute” returns to the boom bap so both of them can bring you a different flavor on some court-side shit just before “What’s the Mission?” comes through with an atmospheric albeit dusty vibe explaining that the mission both of them are on is to get paid.

Nearing the conclusion of Northside, the calmingly drumless penultimate track “Watch Ya Mouth” flips the iconic Jeru the Damaja single “Ya Playin’ Yaself” warning everyone near their vicinities to watch what comes out their mouths that is until “Forks on the Road” closes up shop returning to the boom bap using the titular metaphor to talk about being unsure which way to take & that they must keep going.

Physics of Filth & Bite the Bullet with Asun Eastwood have been my favorites from Daniel Son when it comes to collaboration projects with another MC & now Northside has surpassed them both on top of being my new favorite Raz Fresco collab effort. The sound that the latter goes for like wearing a northface jacket in a snowstorm in the sense that it’s but with a feeling of warmth on the inside, but they also pay homage to the deep hip hop roots in Toronto & add on to that legacy with another solid contribution of art that continues to push the culture forward.

Score: 4.5/5

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BVA – “The Dam Builder” review

This is the 3rd full-length LP from Glastonbury, Somerset, England, United Kingdom emcee BVA. Coming up as a member of The 4 Owls as well as Brothers of the Stone & the 3 Amigos, he’s also given us a couple albums & EPs of his own over the course of this past decade with the 2021 sophomore effort Lex Neville under his own label Real Life Drama Records & his first EP BVA MC standing out the most of the few solo efforts under his belt. However after learning that Leaf Dog was fully producing The Dam Builder after dropping When Sleeping Giants Wake a month ago, I went into it expecting to surpass everything BVA had done previously.

After the intro, the first song “Charge It to the Game” officially begins the album with a soulful boom bap instrumental talking about being heartless in the face yet the calmest in his lane whereas “New Days” featuring Verb T takes the jazzier route explaining that it ain’t ever same as older days. “Out Here” featuring Benny the Butcher & Leaf Dog returns to the boom bap so they can talk about being raised outside leading into Leaf sticking around on the mic for “8 Bit Tales” dustily telling freaky tales like Too $hort.

“Desire” brings a whimsical boom bap vibe to the beat talking about there still a fire even when it’s cold ahead of Leaf Dog returning inside the booth once again for the orchestral “Take It Easy” likening the instrumental hitting like a wake & bake. “Nice n Crispy” works in more kicks, snares & orchestra elements to say shit like this is what makes them say these type of days be some of the best just before “1 in the Ashtray” talking about getting stoned during the day pretty much as soon as he wakes up.

Meanwhile on “Flying Daggers”, we have BVA over more classical flavored boom bap production refusing to allow anyone to burst his bubble while the solemnly “Dreamer” talking about how it don’t cost shit to be nice & people having their heads up in the clouds rather than in their vices. “Lost” has a soulful boom bap flare instrumentally explaining that every one of us is lost looking for a way out while “Over the Edge” takes a second checking what he knows in his head over more kicks & snares.

“Couple Clues” luxuriously observes the humor in these kids being told they were special & reality cutting them like sharp metal as they grew up while the organ-laced “Curse of the Liquor” insightfully breaking down the cons of alcoholism. “Still Rowing” soulfully talks about your respect owing while “Mightier Than the Sword” mixed a crooning sample with kicks & snares likening himself to a beast in his lair calling the feeling home sweet home.

Ramson Badbonez joins BVA on “Hiding in Plain Sight” continuing the sampling of soul music cautioning not to trust the government, the lawmakers or pharmaceuticals while the track “The Medecine” featuring Leaf Dog brings back the strings throwing kicks & snares on top of them explaining that it was never about anything else. And prior to the outro, the final song “Always Something” featuring Leaf Dog ends the LP brushing bad things off like nothing over organs.

His last couple albums have been a tad bit overloaded with the guests, but BVA really tones it down for The Dam Builder resulting in living up to my expectations outdoing B.V.A. (Be Very Aware) under High Focus Records & Lex Neville in becoming my new favorite solo effort in his discography a couple months after the Grizzled Young Veterans became the new RPW British Tag Team Champions. Leaf Dog’s production fuses the raw drum patterns of the traditional boom bap sound with samples along with strings & organs so BVA provides some of his most focused performances.

Score: 4/5

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Rapsody – “Please Don’t Cry” review

This is the long-awaited & highly anticipated 4th full-length studio LP from Raleigh-Durham, North Carolina emcee Rapsody. Rising to prominence last decade with a handful of mixtapes & EPs, he 2012 debut album The Idea of Beautiful continued to show her potential until the Roc Nation Records backed Laila’s Wisdom in 2017 truly refined her style & sound almost perfectly. 2 years later, she signed to Def Jam Recordings releasing EVE to similar acclaim, but is returning after 5 long years with Please Don’t Cry.

After the “She’s Expecting You” intro, the first song “Marlanna” produced by Sndtrak mixes boom bap & trap together so she can remind everyone exactly who she is whereas “Asteroids” takes a luxurious route instrumentally thanks to Hit-Boy hurling back at everyone that threw rocks at her. “Look What You’ve Done” brings an angelic vibe to the beat giving you what you need & that you can chase the bag just before “DND (It’s Not Personal)” funkily talks having one of those days of being left alone.

“Black Popstar” puts a bigger emphasis on the trap sound charismatically boasting on the lyrical tip leading into Eric G. giving “Stand Tall” some jazzy undertones refusing to let anyone trigger her & being true to bounce back on the days that she eventually does. “That One Time” talks about learning to be okay with your imperfections over some woodwinds & that life is a process every single one of us goes through, but then “3:AM” addresses a lover who makes her feel like a new person on top of S1 & Lonestarrmuzik drawing inspiration from neo-soul behind the boards together.

Meanwhile on “Loose Rocks”, we have Rapsody over a cloudier instrumental asking where her future lies if she doesn’t know the truth already by now prior to the S1 & Wu10 guitar-laced “Diary of a Mad Bitch” portrays an angrier side to as she takes this time to call out an ex who doesn’t deserve her. “Never Enough” featuring Keznamdi brings the pair together over a reggae/trap fusion talking about how everyone has wants & needs as well as being unable to find peace in Babylon while “He Shot Me” returning to the boom bap interpolating “I Shot the Sheriff” by Bob Marley during the hook tackling racially charged gun violence.

“God’s Light” marks a groovier turn within the instrumental talking about forever shining in the eternal light of the High Power himself while “Back in My Bag” hooks up these prominent horns & hi-hats so she can passionately getting back in her zone as if she never took a few years off to begin with. After the Niko Brim interlude showcasing his talents for a whole minute laying a verse on top of a classy beat, “Raw” featuring Lil Wayne fresh off performing for former 10-time WWE tag team champion Jey Uso’s entrance at WrestleMania XL last month against his former 9-time WWE tag team champion brother Jimmy unites both MCs over kicks & snares flexing their lyrical prowesses while “Lonely Woman” psychedelically encourages lonely women to love themselves.

Baby Tate joins Rapsody on “A Ballad for the Homegirls” smoothly talking about becoming more & more like their mothers the older they become & after the titular interlude, “Faith” nears the conclusion of Please Don’t Cry telling everyone to maintain their faith over pianos & a chipmunk soulful hook that is until the closer “Forget Me Not” officially closes up shop by fittingly talking about not wanting to say goodbye & acknowledging that we love too deep to really ever be at peace with the ones that have passed despite the world being so bad.

Rapsody much like Sa-Roc has always been one of the very first people who come to mind when I hear out-of-touch heads bitching & moaning over women in hip hop this day in age severely lacking & Please Don’t Cry proves my point yet again. We get an artist who’s unafraid to draw on lifelong influences to find their true voice & pulling back the curtain on who she is off-stage as a person. She even reconciles with the past to empower her future, exploring the depth of her technical dexterity with more vulnerability than she has been previously.

Score: 4.5/5

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Peter Sparker – “Who We Are” review

This is the full-length studio debut from Atlanta, Georgia emcee Peter Sparker. Introducing himself on Devil’s Night 2020 through his debut EP Chillin’ in the Matrixx despite starting out in the ‘80s, he would later form the duo Sparkerdero with producer K. Dero afterwards & drop a debut album of their own Bubba Smith a few months later followed by the sophomore effort 2nd Round merely 4 months prior. He has since joined the rising Croydon, South London, England, United Kingdom underground label Hidden Hobby Records & looks to make his debut by having Paisley, Scotland producer STS soundtrack Who We Are.

“Hi” jazzily begins by talking about using his God given talents to the highest abilities imaginable whereas “Stop & Look” takes a more laidback approach instrumentally explaining that nobody’s better than us because they’re wealthier. “Speak to Me” takes the cavernous boom bap route explaining that he still strives to make people feel like he’s amazing when most already do just before “Mr. Winter” talks about being the reason why his city has snow days.

HellzYeah joins Peter on “Sharks” discussing that they always get things done right because each of them always do it correctly leading into “Bars Over Bullshit” pensively talking about prioritizing lyricism above nonsense. “Bone Collector” brings back the jazz rap vibes for 90 seconds boasting how insane the bars he comes up with inside his head truly are just before “Shrapnel” hooks up a funky bassline to talk about doing this shit for almost 3 decades.

“Pathological Rhymer” starts the 2nd half eating STS’ beats like he’s serving whole entire meals while “Time Bandits” featuring PrevMarco finds the 2 talking about time eternally slipping to the future since we all should know that waits for no man. “Something We Do” breaks down the differences between hip hop culture & rap music, dismissing the false notion of of artists thinking they’re living this shit simply because they’re rapping now while “Backspin” dedicates the next 68 seconds to all the b-boys.

WWE Hall of Famer, the shortest reigning WWE Champion & former WWE Tag Team Champion André the Giant gets referenced on “The Brakes” talking about only dealing with the best of the best while “This is the Way…” declares himself to be the weapon needed to correct the perception of an MC’s essence. “Revolution” sends off the LP with a minute long outro talking about still providing Edutainment despite not being KRS-One & nobody having the ability of altering the way he spits.

Chillin’ in the Matrixx was the only actual entry in Peter Sparker’s solo catalog up to this point for me to judge his music upon excluding both of Sparkerdero’s full-lengths, but I can definitely say Who We Are surpasses that previous EP he released during the COVID-19 pandemic & proves to be a great international signing for Hidden Hobby Records from STS’ boom bap production to Peter’s wordplay simultaneously opening up to this new era of authentic lyricists whilst throwing it back to hip hop’s early days.

Score: 4/5

C.R.I.M. – “In the Meantime” review

C.R.I.M. is a 30 year old MC from Detroit, Michigan who started out under the original moniker Crimson Alchemist releasing her debut EP E4 in 2018 pulling inspiration from her love for Pokémon & subsequently the 2020 Valentine’s Day-themed 4H (For Her) only a month until the world as we know it went under lockdown. She has since been putting out singles & doing features, but is taking the next step in her official return switching up her moniker & putting out her 3rd EP albeit her first body of work in over 4 years.

“Wrong Turn” sets off the EP mixing technique & passion for a lifetime commitment over pianos, kicks & snares whereas “Adversary” is this synth-boom bap hybrid talking about solemnly swearing she’s up to no good. “The Whitney” featuring Jazar & Semi 6 starts the 2nd half of In the Meantime taking a jazzier approach instrumentally noticing everything ain’t the same once you get into the game prior to “The 11th Hour” featuring J. Santino finishing the EP returning to the boom bap so she can talk about regrouping.

I was fortunate to meet C.R.I.M. a few summers ago around the time that Fatt Father had delivered his 5th album Soccer Dad produced by Foul Mouth & found the way that she blended conscious lyricism with the nerdcore style of hip hop to be pretty distinctive. In the Meantime however could be my new favorite EP of hers & one that those who’ve been sleeping on her for over a decade should wake themselves up to with. Instrumentally, you’re getting the traditional boom bap sound & C.R.I.M. jumping over them recapping what she’s been going through.

Score: 4/5

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