J. Cole – “Might Delete Later” review

North Carolina rapper, singer/songwriter & producer J. Cole surprise-releasing his 4th mixtape. At this point, I’m pretty sure everyone & their mom knows who dude is. Especially given the universal acclaim of projects like The Warm Up, Friday Night Lights, Born Sinner & my personal favorite: 2014 Forest Hills Drive. However, his last 2 albums 4 Your Eyez Only & K.O.D. were both released to mixed reception. Matter of fact: my review for K.O.D. is amongst my most controversial. I don’t get shit for it anymore but at the time when I gave it a 6/10, Cole stans were on my ass for the next 2-3 weeks. Even to this day: my opinions on that & 4YEO haven’t changed at all but that’s not the point. The Off-Season was the most I’ve enjoyed a Cole project since FHD, so Might Delete Later was an interesting surprise to me.

“Pricey” featuring Gucci Mane & Young Dro is a symphonic boom bap opener produced with T-Minus & Wu10 whereas “Crocodile Tearz” works in some pianos & hi-hats talking about The Fall-Off being like JAY-Z droppin’ Reasonable Doubtlast. “Ready ‘24” featuring Cam’ron flips I’m Ready by The Diplomats fittingly enough to get on their shit again just before the trap-inflicted “Huntin’ Wabbitz” with co-production from Charlie Heat references Elmer Fudd of the longtime Warner Bros. franchise Looney Tunes.

Central C joins Cole on the acoustic trap/pop rap crossover “H.Y.B. (Hide Your Bitch)” with FNZ behind the boards advising to hide your significant others from them leading into “Fever” continuing the pop rap vibes except it’s much more groovier courtesy of ATL Jacob talking about a woman he loves & needs. “Stickz N Stonez” is my favorite on the tape bouncing back from the 2 worst whether it be the dusty Alchemist instrumental or the lyricism declaring that no one wants smoke with him, but then “Pi” featuring Ab-Soul & Daylyt goes drumless to drop straight bars for 6-minutes other than the trans line.

“Stealth Mode” featuring Bas on the bridge talks about got a lot to get off their sternums over a summery drill beat while “3001” finds Mike WiLL Made-It & Pluss of all people dabbling with boom bap dedicated I was listening less than 1000 years from now. “Trae tha Truth in Ibiza” soulfully discusses his work ethic & the now deleted “7 Minute Drill” ends the tape with Conductor Williams sampling “Energy” by Drake so Cole can come through with an admittedly weak response to Kendrick’s verse on Future’s latest album We Don’t Trust You saying he’s “washed like The Simpsons” on the Fox Corporation’s flagship property albeit trademarked by The Walt Disney Company & he has since apologized for it officially backing out of the beef.

I’m just gonna come straight out the gate by saying both J. Cole & Drake don’t have an album better than good kid m.A.A.d. city or To Pimp a Butterfly, but I think Might Delete Later is a pretty solid tape for the most part. The overall sound is more trap oriented with some jazzy undertones and J. Cole actually does sound pretty hungry here as much as he did on the previous album a couple years ago other than a few unfortunate lows. Still very excited for The Fall-Off.

Score: 2/5

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100GrandRoyce – “The Fix” review

This is the 10th EP from Harlem emcee 100GrandRoyce. Starting as a member The Stackboys, he eventually went solo in 2011 although it wasn’t until the release of his 5th EP Prodigal Sun produced by 183rd in the spring of 2020 during the COVID-19 pandemic where he caught my attention. The Return, Triple Crown & Unfinished Business would all reach the bar that Prodigal Sun had set & The Fix here produced by Dame Grease really peaked my interest.

“Shine” gets the ball rolling by incorporating claps into a cloudy instrumental with an interpolation of the “Wu-Gambinos” hook & grinding until the A.M. whereas “Above the Clouds” talks about having nightmares of ending up like everyone else out here working in a flute along with kicks & snares. “Cheri Amor” goes into soulful turf paying tribute to his sweet love just before “On Me” returns to the boom bap refusing to chase a chicken since they call him sometimes.

Starting the 2nd leg of the EP, “The Last Gone Be First” brings these exuberant piano chords into the fold talking about being cool as long as the bag right leading into “Block to the Bank” featuring BerryA bringing a jazzier flare to the beat going for dollars. “One of a Kind” bringing back the kicks & snares talking about being unique, but then “My Just Due” finishes The Fix on some straight up grimy shit boasting that he got the key to the city from the players.

Lo & behold: The Fix is the most I’ve enjoyed a 100GrandRoyce project since Unfinished Business. The production gives it a timeless & captivating sound blends hard-hitting beats with soulful melodies, the chemistry is evident throughout as they effortlessly complement each other’s styles & it’s a testament to the power of storytelling as well as the resilience of the human spirit offering a glimpse into the realities of street life while also conveying messages of hope, perseverance & the pursuit of dreams.

Score: 4/5

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Ritchie with a T – “Triple Digits [112]” review

Ritchie with a T is a 29 year old MC from Phoenix, Arizona notable for emerging as 1/3 of Injury Reserve. The trio would release 3 mixtapes alongside a couple EP’s & albums, respectively until disbanding as a result of Stepa J. Groggs’ death, with Ritchie & Parker continuing to make music together as the duo By Storm introducing themselves the previous on the best single of 2023 in my opinion “Double Trio”. However to build up anticipation for By Storm’s upcoming debut album, Ritchie’s setting out to try something different & going solo.

The “Wings” intro sets the tone of the album with heavy synthesizers singing everyone knows there’s so much more to know whereas “W.Y.T.D.?!?! (What You Tryna Do?!?!)” fuses industrial hip hop & rap rock with industrial rock, synth punk & even post-punk abstractly asking the titular question. “RiTchie Valens” goes for a cloudier approach additionally pulling from trap, neo-psychedelia, glitch hop & pop rap responding to those who’re starting to feel a lot more like a tenant just before “The Keepers” nocturnally calls out people holding the gate as if he ain’t trying to blow past.

After the “Only You” interlude, the title track brings the glitch hop vibes back rollin’ up & steppin’ in similarly to if the place was his own while “Dizzy” featuring Aminé mixes neo-soul with boom bap & once again glitch hop telling y’all to look who it is that came through. “Looping” swaps out the dusty undertones in favor of footwork as well as nu jazz & jazz rap trying his best to chance but after the “Your Worst Nightmare” interlude, “How?!” featuring Niontay blends cloud rap & drill talking about many saying you gotta plan it out.

“Get a Fade” goes minimal instrumentally so Ritchie can sing with heavy auto-tune slathering his vocals paying homage to 808s & Heartbreak a bit while “The Thing” featuring Quelle Chris finds the 2 rapping about how much shit you gon’ let stop the flow & block the money from stacking up. Lastly prior to the “[Credits]” outro, the final song “5onthe.” by By Storm finishes Triple Digits [112] with a 5-minute teaser of their upcoming debut together.

As an Injury Reserve fan, it was only a matter of time after Stepa’s passing that Ritchie would venture into uncharted territory by breaking free from the confines of group expectations & personal barriers. He details his journey of self-discovery acknowledging the pressure to meet the standards set by his previous collaborations & shattering these constraints by delivering a diverse blend of experimental sounds & infectious production, showcasing his true essence.

Score: 4/5

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Marv Won – “I’m Fine, Thanks for Asking.” review

Detroit emcee/producer Marv Won returning for his 5th full-length solo LP albeit the first after signing to Mello Music Group. Coming up as a part of the world famous Fat Killahz, he has gone on to become well respected in the battle circuit & has released his last 4 albums alongside a few EPs. It’s been over 2 years since we last heard from Marv on his 3rd EP Hagler & he’s looking to respond to everyone asking about his well-being by simply saying I’m Fine, Thanks for Asking.

The title track is a self-produced boom bap opener expressing that his feeling aren’t allowed when they surely are & that they really be expecting him to save their asses whereas “Measuring Stick” by the Twin Towers featuring eLZhi brings the 3 Motor City titans coming together for a gritty, bass-laden anthem that reverberates with the city’s hard-knock life. “Roc Nation Brunch” featuring Freeway blends epic orchestration & Joe Louis drums that hit like Tommy Hearns to deliver a tableau of Black excellence while “Purple” talks about a woman being destroyed by a kind of love.

“It’s Ok” goes for a smoother approach instrumentally providing comfort food for those simply trying to get through today while “Higher” brings this ghostly vocal sample flip into the fold so Marv can reasonably talk about becoming a better person. “Say My Name” featuring Monica Blaire soulfully encourages to acknowledge them by saying their names out loud so they know who they fuckin’ with, but then “Nosy” featuring Rapper Big Pooh returns to the boom bap explaining why they couldn’t sell dope.

Quelle Chris does the hook on the penultimate track “Good Thangs” crafting an auditory experience that feels like a voyage from the depths of darkness to the first light of dawn by orchestrates a narrative of resilience, guiding listeners through a transformation from enduring life’s hardships to savoring its most luminous moments & subtly reminds us of the virtue of humility, cautioning against the pitfalls of greed & encouraging us to keep our heads held high in adversity prior to “Grand Piano” ending the LP by stripping the drums to celebrate.

For his MMG debut, one of the Motor City’s most prolific battle MCs takes us on a soul-baring endeavor that weaves tales of struggle & triumph inspired by his storied life in his hometown. He brings a lyrical ferocity to his unapologetically raw & heartfelt rhymes by showcasing a seamless fusion of his word play & production with storytelling transcending mere verses that paint vivid portraits of life in the D. In a masterful blend of production & rap, this album is pure Detroit in it’s soul & sound reverberating with the city’s hard-knock life.

Score: 4.5/5

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Glorilla – “EhhThang EhhThang” review

This is the 2nd mixtape from Memphis, Tennessee rapper Glorilla. Breaking out off the viral & undeniably fun single “F.N.F. (Let’s Go)” couple years ago, the ultimately resulted in local veteran Yo Gotti signing her to his Interscope Records imprint Collective Music Group a little over a week before they dropped their 2nd showcase compilation Gangsta Art a few months later, making her the very 1st female recording artist on the label. Anyways, Life’s Great… continued to have her presence felt & I went into EhhThang EhhThang hoping it would take her to the next level since she’s amongst my favorite CMG signings personally.

“Yeah Glo!” was an incredible choice of a single & even the perfect opener to the tape whether it be the Memphis-influenced sound or Glo’s charismatic braggadocio whereas “All Dere” featuring Moneybagg Yo follows it up with a decent strip club anthem although I admire the Project Pat samples. “Nun of ‘Em” works in hi-hats & a rubbery bassline talking about how she ain’t like the rest of those bitches, but then “No Bih” is another standout for me givin’ a middle finger to all the haters out there over a vibraphone-inflicted trap instrumental from Chopsquad DJ.

Megan Thee Stallion joins Glo on “Wanna Be” for what is essentially the female counterpart to “Captain Save-a-Hoe” by The Click heavily sampling “Pretty Boy Swag” by the first rapper to do it all Soulja Boy just before “Opp Shit” brings back the Memphis trap vibes a bit talkin’ about fuckin’ with an opp essentially since her cousin smoked his brother, which is interesting because she’s confirmed that both Cardi B & Lil Uzi Vert are in fact her cousins in recent interviews not to say she’s referring to either one of them at all. “Aite” featuring Kevo Muney finds the 2 over a solemn vocal sample & hi-hats tackling loneliness on the road leading into “Bad Bih 4 Ya” featuring Boston Richey going trap metal & falling flat.

“Finesse da Flo” featuring Finesse2tymes isn’t any better trading verses with each other over a generic beat & Glo being the superior performer of the 2 while the “High AF” picks back in the form of a piano-trap crossover dedicating to being faded than a hoe. The penultimate track “G.M.F.U. 2 (Got Me Fucked Up 2)” draws near the end of the tape with a sequel to a song on her debut mixtape Most Likely Up Next that’s superior to the original & the futuristic closer “In Dat Mode” sends off the tape flexing it don’t get bigger than this.

All & all, this is yet another average body of work from Glo yet it’s better than her previous material much like the last EP was. The production is a mixed bag generally although there are some incredibly detailed ideas & the features are mostly underwhelming, but Glo can very much rap her ass off. If she can improve in the other 2 departments, I’m sure the full-length debut can really take herself to the next level because she really is amongst the best on CMG.

Score: 3/5

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Mickey Diamond – “Super Shredder” review

One of the illest Detroit emcees in the underground currently Mickey Diamond back with his 12th LP. Emerging at the beginning of 2020 off the strength of his debut EP Bangkok Dangerous, the dude has since gone on to turn quite a few heads in the underground by building up the impressive discography for himself with his previous 11 albums alongside 7 EPs & a mixtape. But for the past year, Mickey has been consistent putting out some of the best material of his career thus far. This includes the Gucci Ghost album & it’s sequelproduced by Big Ghost Ltd., the Ral Duke-produced Oroku Saki EP, the Sadhugold-produced Death Threat$ album, the Camoflauge Monk-produced Capital Gains album or more recently the 3rd & 4th installments to the Gucci Ghost saga this past winter. But to begin the 2nd quarter of the new year, Diamond & Ral Duke are getting back together for the Oroku Saki sequel Super Shredder.

“TGRI” begins with a cold boom bap instrumental treating the sewers like his 2nd home calling himself a bonafide villain with the chrome mask referencing WWE Hall of Famer, former WWE United States Champion, WCW World Television Champion & the inaugural WWE Royal Rumble winner “Hacksaw” Jim Duggan whereas “Shredder Loves April” goes for a soulful approach instrumental likening his romantic interest to April O’Neil. “Foot Clan Party” comes through with a cinematic sample talking about his name ringing bells from the Motor City all the way to Baltimore, but then “Cartoon Car Tunes” takes the uncanny boom bap route to cook in Dex’s lab in hazmat suits & protective masks declaring to be the face of true terror.

Moving on from there, “Coffee Beans” hooks up kicks & snares with a melodic vocal chop grinds on the office scene as well as people not knowing shit about high fashion until you saw him prior to “Rocksteady” ruggedly cautioning to get the fuck out the way since the Umbrella making their way in this bitch including a reference to WWE Hall of Famer, 7-time WWE women’s champion & WWE Hardcore Champion Trish Stratus. “The Masked Man” menacingly talks about Diamond’s competition knowing the deal with him by now but after the “Feudal Japan” interlude, “Tin Can Assassin” hops over strings discussing his style.

After the “Oozey” interlude, “Technodrome” continues the symphonic boom bap vibes to brush off anyone who steps up to him on the mic as “old news” while “Hyperstone Heist” heinously talks about being a killer. After the “Shredder’s Hideout” interlude, “They Took Splinter” dustily tells everyone else to say their prayers for God’s sake & after the “Anchovies” interlude, the final song “Shell Shock” finishes the album with a fun track for the party people.

4 months after dropping 2 last-minute additions to my Best of 2023 list, Diamond has done it again by taking everything that made Oroku Saki his best EP & translating it for the duration of an entire full-length. Ral Duke’s production is grimier even though he’s still somewhat new to being behind the boards for others’ projects, the Teenage Mutant Ninja Turtles concept remains untouched for any fan of the franchise & Mickey’s lyricism goes harder.

Score: 4.5/5

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The Musalini – “Mackaroni” review

New York emcee & Jamla Records recording artist The Musalini teaming up with Cookin’ Soul for his 6th EP. Beginning to take the underground by storm since 2018 after dropping his debut mixtape Musalini Season, he went on to release 3 full-lengths & another tape before signing to TCF Music Group. Since then, he’s made himself home by dropping a few EPs & Return of the Oro in the early part of this decade. In God We Trust produced by 38 Spesh, The Don & Eye alongside its sequel fully produced 9th Wonder & Pure Izm produced by Khrysis have all quickly become his best material over the past 3 years. And with the run Cookin’ Soul’s been on these past couple months, I can say stakes for Mackaroni were pretty high personally.

“Say You Love Me” featuring Hus Kingpin & Reuben Vincent starts us off with the trio over a soulful admitting to their flings that can’t say they care whereas “Never Be a Stranger” takes the groovy boom bap route talking about being a pimp. “‘92 Olympics” featuring Tha God Fahim gives me a mafioso atmosphere a bit instrumentally likening themselves to the US men’s basketball team over 3 decades ago just before “I Want It All” featuring Planet Asia taking the luxurious route expressing their desire for everything.

MadeinTYO interestingly joins Mu$ on the luxurious boom bap cut “Mack of the Year” talking about being the pimp’s pimps of 2024 leading into “Got Her” showing a J Dilla influence to the beat getting in his romance shit. “1 Time” featuring Le$ works in these organ-synths with kicks & snares bringing that style for the block whilst turning it up a notch while “Fresh Air” featuring Raz Fresco & Skratch Bastid keeps it boom bap with lavish piano chords talking about mornings on the beach. “Lay Up” warmly looks to turn everything he touches into chicken & “Pay the Man” is a jazzy closer demanding to be paid what he is owed.

Despite the fact that some of of Mu$’ output can be a bit too overloaded with the amount guests, I’m not gonna deny that Mackaroni is the most I’ve enjoyed his music in a while. Cookin’ Soul goes on a 3-peat with the production since it’s on par with Supreme Dump Legend: Soul Cook Saga’s & Bakin’ Soul’s, the performances from the features themselves are more consistent & Mu$’ is straight mackin’ for nearly 26 minutes.

Score: 4/5

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1600J – “16GTC” review

This is the 24th EP from Bronx, New York up-&-comer 1600J. Emerging in the winter of 2018 off his first EP Mud Motel, he would go on to drop 22 more EPs, a solo mixtape & 4 collab efforts. Standouts include Hitmakers, GTA 6, NextDoorNeighbors with Ghetto Luxury Entertainment general Pasto Flocco & RealYung16’s eponymous debut EP. However coming fresh off producing Casey Veggies’ latest mixtape Nostalgia over a month ago, Dylvinci is teaming up with 1600J the day after April Fool’s Day 2024 for 16GTC.

“Clear Out the Room” is a warm plugg opener with 1600J talking about his shooters making all the rooms empty whereas “Bag It” continues to bring a summery atmosphere to the table admitting that he’s not looking to be boxed in & I completely understand that. “Look At Me Now” featuring Lil Xellybrings this infectiously groovy trap flare reflecting on going from being clowned to where he is currently while the sensual “Blowin’ My Phone” featuring Rx Papi finds the 2 talking about chick continuously callin’ them & telling them to come to the spot. France’s biggest artist in plugg right now Serane joins 1600J on “Global” giving me a cavernous trap vibe with them flexing that no one compares to them & “What He Can’t” by RealYung16 featuring BoofPaxkMooky finishes 16GTC on a cloudy note as the trio talk about being better than the dudes you’re already with since they can do shit that they wouldn’t.

Going through the insane amount of EPs that 1600J has put out in only 6 years, 16GTC has to be my favorite one that he’s put out. Dylvinci’s production refines 1600J’s whole plugg/pluggnb style consistently start to finish, the performances from 1600J himself are on par & even the features during the last 4 cuts all bring their individual flavor on top of it. If we so happen to get another project from them down the line with a shorter guest list, it really could be on par if not better.

Score: 4/5

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Eddie Kaine – “Last Exit to Crooklyn” review

This is the 6th full-length LP from Brooklyn, New York emcee Eddie Kaine. Turning heads at the beginning of the decade off his Big Ghost Ltd.-produced debut album A Tree Grows in Brooklyn, the next couple albums Wonderful World of Kaino & Chosen were both moderately received until the Finn-produced Quincy Street Blues marked a return to form for Eddie. But coming off the BP Infinite-produced House of Kaine last fall, Kaine & Big Ghost are linking back up to take the Last Exit to Crooklyn.

“The Wrong Era” opens up shop by bringing a jazzier flare instrumentally so Eddie himself can admit he feels like he’s gettin’ lit in the wrong era giving flowers to those who paved the way like Gil Scott-Heron & Bobby Womack whereas “Reflections” works in some piano chords to get more spiritual than some think he is. “Gylan Kaine” shifts into soulful territory talking about the only goal is to do what they say he can leading into “Chain Walkers” featuring Planet Asia bringing the 2 backed by horns to get in their battle rap bags.

Moving on from there, “Could Never” clashes these somber keys with kicks & snares boasting that he cannot be touched just before “Crooktown” featuring Rim going back & forth with one another perfectly over a rugged boom bap beat sounding better than most of the cuts off their collab EP Meta if I have to be honest with myself here. “To the Pedal” has a warmer approach sonically talking about having his foot on the gas pedal full throttle, but then “Lanier vs. King” featuring Jae Skeese brings back the soul flips referencing Marcus Lanier & Lee King.

“Misery” keeps the chipmunk vocal sampling in tact talking about feelin’ like B.I.G. with all the Versace & Coogie on while “Cutthroat Drills” mixes pianos with kicks & snares getting back on the hardcore tip lyrically. The penultimate track “Roundtable Meeting” featuring Emilio Craig, Odawg, Passport Rav, Rim, Smaccz & Spoda is a cool 4-minute posse cut with a rawly rock-inspired sound just before “All the Above” shows off Eddie’s artistic versatility since he’s singing his heart out during the LP’s final moments.

A lot of the same essence that made A Tree Grows in Brooklyn so personal & relatable had crept it’s way onto Last Exit to Crooklyn, but it’s still very much a different story with new perspectives & some artistic maturity thrown in the mix. Big Ghost’s production is a bit jazzier than last time although the elements of boom bap, chipmunk soul & drumless are still present as Eddie touches on topics & has a true gift for making you feel like that’s your homie from round the simply just talking to you.

Score: 4.5/5

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M.A.D – “M.A.D (Me Against Death)” review

M.A.D is a 33 year old MC/producer from California City, California notable for being 1/2 of the duo Madopelli. Much like his partner-in-rhyme Ant Dog who put out his 3rd solo effort albeit LSP debut Sadistic Symphony yesterday, M.A.D himself has quite a few solo efforts under his belt already including Predominantly Me as well as Full Circle & 24/7. But considering the acclaim that Madopelli has gotten ever since Lyrikal Snuff Productionz signed them & Sadistic Symphony releasing a day prior like I said, it makes sense for M.A.D to go eponymous for his 4th LP by himself.

After the intro, the first song “Murder Music” opens the album with a bleak boom bap instrumental wanting his flowers when he’s here whereas “Tell on My Name” takes the trap route sonically talking about calling him Suge White since he’ll leave muthafuckas hanging off the balcony. “Ay Mad How You Feel?” brings back the kicks & snares with a soul sample in the mix admitting that he’s feelin’ incredibly high leading into “New Snuff Sound” by Madopelli putting a Snuff twist to the hardcore hip hop/boom bap style.

”Watered Down” incorporates more kicks, snares & even some piano chords calling out those watering themselves down artistically while “Gutted Like a Fish” keeps it dusty reminding that what goes around does in fact come around & that you’re only gonna hate your own self in the end. “Long Way Home” brings a bluesier flare to the beat for a dedication to those who never had a home & “Mt. Snuffmore” by Madopelli featuring M.M.M.F.D. establishes themselves as the LSP-equivalent to Mt. Rushmore itself.

Starting the last leg of the album, “Juggalo Love 2” is this acoustic trap crossover showing mad juggalo luv while “Go to Sleep” incorporates this high-pitched vocal sample with kicks & snares passionately asking why they be sleeping on his name. And before the outro, the final song “Feel Alone Again” concludes M.A.D’s best solo album yet going trap metal talking about loneliness.

Madopelli has quickly established themselves within the underground ever since signing to LSP & much like Sadistic Symphony which we got only yesterday, it’s counterpart M.A.D (Me Against Death) further exemplifies the freshness that they can do as solo acts. Very much indeed the best albums that they’ve done on their own. M.A.D is not only one of the most interesting producers rising in the underground wicked shit scene in the last couple years, but his hunger here is next level.

Score: 4/5

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