Drego & Beno – “True Story” review

This is the sophomore full-length studio LP from Detroit trap duo Drego & Beno. Blowing up in the summer of 2018 off their debut mixtape Sorry for the Get Off followed by both Meet Us Outer Space & Sorry for the Auto-Tune after signing to EMPIRE Distribution, they would eventually take a 3-year break from making music before returning a year & a half ago on Sorry We Was Trapping. True Story however made me curious as to whether or not they could outdo themselves compared to the debut.

The title track produced by Helluva comes straight out the gate with a 2-minute Detroit trap banger talking about being in the hood if they ain’t trappin’ whereas “Boobie Trap” brings a menacing atmosphere instrumentally referring to themselves as big tippers. “On My Momma Ass” works in these ominous piano chords from Drego himself interestingly enough talking about bitches that don’t follow instructions bringing great destruction just before “Slimed Out 2” serves as a fun sequel to their biggest song.

“I Don’t Even Rap” has this bouncy, futuristic approach to the beat to talk about wettin’ up opps if they so happen to run into each other in the club while “MPR” once again brings a grisling vibe to the table discussing the gangsta lifestyles that they’ve experienced. “Ignorance” has this suspenseful trap groove to it admitting they could be tied in with the cartel, but then “Sheed” goes for a shimmery Detroit trap approach making it in & out the bank like Lloyd.

The rubbery “Get Me Going” asks if you want a tour of their house while the last cut together “Ball” fuses elements of orchestral & Detroit trap looking to hit the mall & spend it all shopping. The bells throughout Beno’s solo cut “Habit” are a unique touch saying that ballin’ is a habitual occurrence for him & fittingly, Drego’s solo joint “S.M.M.O. (Show Me My Opponent)” ends the duo’s 2nd album with Helluva throwing a hint of a west coast influence in his signature production style asking who his opponent is.

If Sorry for the Get Off is Drego & Beno’s best mixtape of the 3 they put out up until EMPIRE signed them, then True Story has to be the best LP of the 2 they’ve given us in nearly 2 years & the strongest they’ve sounded since the very mixtape that put them on the map. It’s significantly well-produced than a lot of their previous material & they pretty much make the case that they don’t need features to hold down the fort.

Score: 4/5

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Q-Unique – “Royal Blood” review

Brooklyn emcee, singer & producer Q-Unique teaming up with Jake Palumbo for his 3rd EP. Emerging as 1/4 of the Arsonists & the lead singer of the 3-man hard rock outfit Stillwill, he’s also built up impressive solo discography for himself since the Uncle Howie Records-backed Vengeance is Mine nearly 2 decades back at this point. He would follow it up the previous decade with Between Heaven & Hell alongside BlaQ Coffee and The Mechanic before Stillwill bassist Fieldy of KoЯn fame to produced his last EP Pound for Pound in full last spring. So hearing Jake was producing Royal Blood, I was just as excited.

“Bad Meaning Good” sets the tone with it’s horn-laced boom bap instrumental to the lyrics looking to shatter dreams like LeBron whereas the rugged “Eye Don’t Sleep” works in strings, kicks & snares talking about being up before the sunrise. “133rd Psalm” takes the soulful route describing how wonderful & pleasant it is when brothers live in harmony just before “Don’t Wanna Wake Up” intricately pays homage to everyone that paved the way for hip hop culture. “Chess Checkers” ruggedly talks about being done running from trouble with blood on his knuckles while “Random Play” keeps it in the basement instrumentally to discuss the street life. “Ingredients” closes the EP by admitting he got that Bruce Banner anger mixed with the love of a ‘60s hippie.

Pound for Pound was received to mixed responses although I felt it was a great comeback for Q & it only made since for Fieldy to hop behind the boards throughout the duration of it. That said, I feel like those who didn’t get a lot out of that previous EP will come away from Royal Blood enjoying a tad bit more. Jake’s production is more rawer in comparison to Q’s Stillwell bandmate & Q himself goes just as aggressive on the mic as last time.

Score: 4/5

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They Liv3 – “Obey” review

They Liv3 is an underground trio from Milwaukee, Wisconsin consisting of Jaysin Logik, King Relik & Prolifik. All of whom have collaborated with one another extensively since signing to Force 5 Records as solo artists before forming a group together over a year ago & properly introducing themselves as a unit on their eponymous full-length debut. However with the first quarter of 2024 coming to a close on Easter weekend, They Liv3 are linking back up for a debut EP.

“TCOB” begins by hooking up horns, kicks and snares so everyone can go back & forth with each other on the mic whereas “Galvanized” goes rap rock to talk about being the real deal. “Evil Wayz” brings a Memphis trap atmosphere instrumentally to get in their wicked shit bags & after an interlude, “Hollow” featuring Rick Dogg works in these summery guitar passages going where the wind blows while the trap-driven “Killaz” talks about drinking. “Crazy” featuring their deejay Danny Diablo sends off Obey with a 2-minute hardcore jam.

Self-titled was a solid showcasing of They Liv3’s chemistry & Obey continues to further establish themselves as one of the most integrating groups that the Milwaukee hip hop scene has to offer right now. The production goes from boom bap to rap rock, Memphis rap, trap & even a bit of hardcore punk as they all continue to ping off each other impressively just like they did on the debut from 13 months ago.

Score: 4/5

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Dom McLennon – “The Changing of the Trees” review

Dom McLennon is a 31 year old MC/producer from Hartford, Connecticut notable for being a founding member of the now defunct BROCKHAMPTON collective as well as the older brother of it’s former de facto leader Kevin Abstract. He also has 3 mixtapes alongside a couple EPs & a few instrumental projects under his belt on top of that but coming off Prologue last month, Dom’s following up Matt Champion’s solo debut Mika’s Laundry from last weekend by putting out his 3rd EP.

“First Offering” is a guitar-laced opener looking to build a coalition while everyone else is trying to build companies whereas the cloudy “Sculptor’s Request” vibe talks about being the only real one in a bunch of fake situations & that’s the reason why he’s lost a lot of patience. “Amongst Swords” slows down his vocals a bit over a peaceful instrumental flexing that he’s in everybody’s ears more than the warranty extensions leading into the drumless “Generations” talking about making hundreds off stackin’ dimes.

To start the 2nd half, the catchy “River” explores identity through a conversation about growth & peace providing words to guide you through your travels just before the piano ballad “Gym Hours” is a profound letter to himself. “Russian Cream” gives me a boom bap vibe rappin’ like the muthafuckin’ rent’s due, but then the trippy “4theblock” finishes the EP by getting out of bed with Satan himself.

Of all the solo projects that I’ve heard from Dom ever since getting into BROCKHAMPTON, I actually came away from The Changing of the Trees liking it more than his last couple EPs Prologue & Roadtrip. I’m sure that he’ll continue to progressively improve on the jazzy production here along with the consciously abstract style of lyricism he goes for on here, which I think will catch some people who’re familiar with his BROCKHAMPTON material off-guard.

Score: 3.5/5

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Zukenee – “Player Slayer” review

This is the official full-length debut studio album from Atlanta, Georgia up-&-comer Zukenee. Getting his start in the spring of 2021 off his debut EP Undiscovered, he would continue to make a name for himself in the underground by putting out a couple more EPs in Castle & Playful alongside the debut mixtape Stop Playing last summer. Subsequent exclusive singles like “OJAYS” & “Chest” would later become amongst his best singles since both of them were released in the span of a year & a half, so it was more than enough to peak my interest for Player Slayer.

“CURSIVE” is this psychedelic trap opener talking about signing the pussy as if the characters are all joined similarly to the titular writing style whereas “X OFF LIST” looks to shoot back without giving a fuck who it is bringing a quirkier tone to the instrumental kinda. “PEEP” dives into rage turf talking about having to check out the spot prior to the syrupy “STOP TRIM” admitting the 1 thing he knows for certain is that bitches come & go, hence why he doesn’t stress over hoes.

Moving forward, “ACTRESS” brings an exuberant trap flare to the beat flexing that he fuckin’ actresses out here while “BAE SLAY” continues to incorporate pianos & hi-hats clarifying that trap isn’t dead when it’s actually the bitch-made who’re simply scared. “SARAN” featuring Talinwya finds the 2 talking about catching them if you can with a once again quirky instrumental, but then “ZACK BIA” clashes keys & synthesizers together shouting out the Field Trip Recordings founder of the same name.

“PROJECT LIVING” vibrantly asks if you’re down or pussy while “BAD WOMEN” futuristically boasts his lifestyle. “RAPUNZEL” featuring Sk8star has to be one of the best tracks on the album from the synth-inflicted beat to both of their performances while “BANKROLL PLAY” talks his shit over some plinky chords. The bassy penultimate track “POP” sayin’ they either push it or move it & “HOODWINKED” finishes the album by needing a hood queen to smoke good weed with.

Even though we’ve been seeing a progressional artistic growth in Zukenee over the course of these past 3 years with all 4 of his previous projects that I mentioned at the very beginning, Player Slayer here as a debut outdoes himself to the point where his status is bound to get bigger from here. The production is uniquely interesting, the 2 features are tight & his performances keep getting stronger.

Score: 3.5/5

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Ant Dog – “Sadistic Symphony” review

Ant Dog is a 35 year old MC from California City, California notable for being 1/2 of Madopelli along with having a couple solo albums under his belt so far in The Devil’s Deal & Here 2 Stay. Madopelli wound up signing to Lyrikal Snuff Productionz a year & a half ago with their last couple LPs both going on to become the best of their careers, so it makes sense for Ant Dog to put out his 3rd solo effort through LSP coinciding with M.A.D putting out the eponymous M.A.D (Me Against Death) later this weekend also.

After the intro, the first song “Sunday Service” is an organ-laced trap opener talking about taking a crucifix to your neck whereas “Sacrifice” featuring Scum works in some strings & hi-hats so both of them admitting memories of the past brings them to their knees sometimes. “World with No Sun” dabbles with trap metal talking about rolling with the lost & the lead single “Lifeless” by Madopelli joins forces for a wickedly off-the-wall banger.

“Stay Away” hauntingly asks if you can help him get through this maze called life over more hi-hats prior to the futuristic “Death from Above” flexes that he’s been puttin’ in work. “Blood Remains” experiments with trap metal once again to talk about the silence getting us nowhere in the end, but then “Poison” reunites Madopelli once more fuses heavy guitars & hi-hats seeing the darkness in one’s eyes.

Str8 Krazed joins Ant on the orchestral/trap crossover “Feel the Same” talking about the fact that they don’t know why they act the way they do while the morbid “Damned” featuring Bloody Ruckus morbidly finds the 2 clarifying that everyone’s damned anyhow. The final song before the outro “Come Home” featuring Rozz Dyliams finishes Sadistic Symphony with heavy guitars talking about surely running out of time.

The Devil’s Deal & Here 2 Stay both stand as fine examples of what Ant Dog is capable of doing on his own, but Sadistic Symphony really takes it to the next level as his most well-crafted body of solo material thus far & M.A.D (Me Against Death) tomorrow will surely do the same. Improved production, he shows his artistic versatility & the features all bring their own freshness to the table.

Score: 4/5

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Roc Marciano – “Marciology” review

Long Island emcee/producer Roc Marciano has returned with his 11th full-length studio album. Starting out in the very late 90’s as a member of the Flipmode Squad, he then went solo in 2008 to drop classic albums that would pave the way for those like Griselda such as Marcberg & Reloaded. He would begin focusing on producing projects for other artists like Flee Lord & Bronze Nazareth following Mt. Marci but after enlisting The Alchemist to produce The Elephant Man’s Bones which I gave a perfect score, we’re being taught Marciology.

The self-produced title track is this ominous opener reminding that he done brought game to the rap game whereas “Goyard God” works in these luxurious piano chords thanks to Animoss so he can shit on everything. “Gold Crossbow” keeps the exuberant boom bap vibes going boasting he has more style in his small toe than your whole torso leading into “True Love” going into soulful turf for a dedication to all his ghetto homies.

“BeBe’s Kids” brings a groovier approach instrumentally talking about others not digging your style because shit’s foul while the crooning “Bad JuJu” featuring Larry June strips the drums courtesy of Uncle Al breaking down to the rich lifestyles that they both live. “Tapeworm” brings a symphonic vibe to the beat talking about being too high class to work with purse snatchers & he is if we’re being honest with ourselves here, but then “Killin’ Spree” featuring Crimeapple brings the 2 together over a rock sample painting images of the gangsta life.

Meanwhile on “Went Diamond”, we have Marci over more strings teaching those who don’t know by now that their worst enemies be their own pride & ego just before “Higher Self” featuring Flee Lord & T.F. yet again builds itself on operatic sampling talking about leaving bullets flying even through your grandma’s room referencing WWE Hall of Famer, former WWE United States Champion, WWE Intercontinental Champion & WCW World Tag Team Champion Rick Rude. “LeFlair” ruggedly breaks down doing everything from scramblin’ to pimpin’ & panderin’ while “On the Run” featuring Jay Worthy having this infectious vocal flip talking about always being on the lamb.

“Larry Bird” featuring GREA8GAWD & Knowledge the Pirate draws near the end of our Marciology lesson with these jazzy woodwinds throughout referencing the titularly iconic Boston Celtics player of the same name that is until “Floxxx” concludes the album toning down the jazz influences talking about never losing his touch, which he hasn’t.

Marc always comes correct whenever he puts out new music and although Marciology isn’t flawless like The Elephant Man’s Bones was, anyone who’s familiar with his discography should know what they’re getting themselves into by now. The production is mostly drumless with additional undertones of boom bap & jazz rap very much like the predecessor charismatically spitting that illustrious pimpire shit.

Score: 4.5/5

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Mooch – “Roc Star” review

This is the 6th full-length LP from Rochester emcee Mooch. Breaking out as a part of Da Cloth, he would catch my attention off the Futurewave-produced debut Boss Sauce & his collab effort with Rigz produced by Big Ghost Ltd. called The Only Way Out. It’s been quite some time since I last discussed Mooch’s music since I covered Da 5th Power over 3 years ago, but knew Roc Star was going to be his masterpiece after learning DJ Muggs was fully producing it.

The title track starts off on the epically drumless tip talking about being a top dog at this point in his career whereas “Soul Screaming” takes the luxurious approach instrumentally likening his literal soul screaming similarly to how the 70s been. “Uncut Hope” has this rawer boom bap flare to the beat bragging that his shit been dope leading into “Trumpets” working in more kicks & snares into the picture requiring to make the discussion if you wanna make it out of the trenches.

“Belly” brings a jazzier flare to the table lookin’ awesome sparkin’ in the dark while “Mooch Moses” returns to the boom bap talking about selling the water that Jesus had turned into wine. The triumphant “It Ain’t Ready” flexes that it’s 31 grams of this oil & noting it’s quite heavy while “Walk Yours” featuring Rigz goes into soulful turf as both members motivate you to shrug off anyone hating on your progress.

Meanwhile on “My Shit’s Beautiful” has these killer guitar riffs throughout as Mooch justifiably brags about just how beautiful his shit actually is while “M.A.V. x Mooch x Times” featuring M.A.V. & Times Change finds the trio over more soul samples bring it to hard-core for literally 3 minutes straight. “Mazda” has these uncanny strings dissing those fake-racing with the God prior to the peacefully drumless “Assets & Liabilities” closing Mooch’s best LP to date breaking down the difference between the 2.

Boss Sauce has always been my favorite solo effort of Mooch’s up until this point, but I can’t deny that Roc Star has taken over that spot because this album more than surpassed my expectations. Muggs’ production here is more consistent than some of Mooch’s recent output, the man himself lyrically is at the strongest he’s been in a couple years & even the unparalleled features are well assorted.

Score: 4.5/5

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Young Wicked – “Young Wicked: The Mixtape 2” review

This is the 2nd mixtape from Denver emcee, singer/songwriter, producer, engineer & fashion designer James Garcia or the artist formerly known as Young Wicked. Coming up as 1/2 of the Axe Murder Boyz with his older brother Bonez Dubb in 1999, the duo put out 4 albums on their own before before the Insane Clown Posse signed them to Psychopathic Records in 2005 & making their debut on the label that following spring by dropping Blood In Blood Out to moderate reception. However, their next full-length outing God’s Hand is considered to by many (including myself) to be their best given how much both of them elevated their lyricism & Otis’ production. This resulted in him becoming Violent J’s protege many years later, dropping his solo debut Slaughter: It’s the Best Medicine in the fall of 2015. Fast forward a couple years later, Twiztid signed Young Wicked & eventually AMB to Majik Ninja Entertainment in the midst of their falling out with Psychopathic to put out an equally fantastic sophomore effort The Return of the Prodigal Son. But after rebranding himself 3 & a half years ago on Activated which had more of a mainstream sound to it, the initially scrapped sequel to Young Wicked: The Mixtape is finally seeing the light of day ahead of his upcoming Astronomicon appearance.

“Deep” is an aggressive rap rock opener talking about the fact that they’ve been waiting for him to come out of the basement to show the underground who he really is whereas “Eternal” takes the trap metal route instrumentally admitting that he can’t rest in peace with these sick muthafuckas in the street although the heavy auto-tune on the hook just isn’t it. “No Masters (Shake da Shit)” works in these somber piano chords & sirens sayin’ y’all looking at a king coming for everything just before the rap metal-infused “Resurrected” admits to feeling darkness clouding his mind.

Meanwhile on “Shallow Grave”, we have Young Wicked on some boom bap shit taking everyone through the mind of a murderer leading into “Pushing On” blends some kicks & snares with guitars as he discusses trying to figure himself out as of lately. “Chrome” ruggedly pushin’ bars similar to the way they be pushin’ weight cautioning that you don’t want to get smoked by him, but then “Flowers” dabbles with the trap metal flare once more calling himself the goat having to be sacrificed in the blood.

The song “No Slackin’” goes for a vibrant trap approach that his pimpin’ doesn’t ever slow down while “Crucifix” returns to the boom bap reminding y’all that his last album was activism & he’s back to stabbin’ victims now. To conclude Young Wicked: The Mixtape 2, the closer “Keep Out the Cold” is this guitar ballad singing that he keeps the whiskey in his veins for the titular reason & “Coastin’” starts the deluxe run with some g-funk undertones repping MNE.

“Breathin’” cleverly references the inaugural AEW World Champion, former ROH World Champion, ECW World Television Champion, IWGPインターコンチネンタルチャンピオン, ROH World Champion, WCW World Television Champion, 6-time WWE world champion, 7-time WWE Tag Team Champion, 4-time WWE Cruiserweight Champion, record-holding 9-time WWE Intercontinental Champion, 2-time WWE United States Champion & WWE Hardcore Champion Chris Jericho.

James blends trap & rock for “Rage” unlock the door to my vision & telling everyone listening to step inside while “The Language” talks about only speaking in hustle not giving any fucks regarding being famous. “Unbroken” enlists ScatteredBrains behind the boards telling everyone that he’s still unbroken out here & the final bonus track “Stayin’ Lit” ends with him swinging as if he’s the soon to be inducted WWE Hall of Famer Muhammad Ali.

Activated has it’s moments even though a lot of juggalos I know weren’t feeling the more commercial-approach it took, but this to me is the best thing that James has done on his own since The Return of the Prodigal Son almost 7 summers ago. It’s much more rawer than the previous LP we got from him & we still get a glimpse of his artistic evolution in the last 25 years whether it be his bars, his singing, an evolving self-produced sound or the mixing/mastering.

Score: 4/5

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Beyoncé – “COWBOY CARTER” review

This is the 8th full-length LP from Houston, Texas singer/songwriter, producer, dancer, actress, businesswoman & director Beyoncé. Rising to fame in the late-90’s as the lead singer of Destiny’s Child, she eventually began her career as a solo artist in the summer of 2003 with the slept-on Dangerously in Love, but found both B’Day & I Am…Sasha Fierce to be average at best. 4 though was her best since her full-length debut, paving the way for a self-titled effort & Lemonade to become her most critically acclaimed bodies of work yet. She began a new trilogy couple summers ago by foraying into house music on Renaissance & is shooting for a new direction on the sequel Cowboy Carter.

“AMERIICAN REQUIEM” is this empowering opener asking if you can hear her or if you fear her whereas “BLACKBIIRD” featuring Tanner Adell finds the 2 over acoustics covering The Beatles joint of the same name. “16 CARRIAGES” mixes contemporary country & country soul with additional elements of Americana & country rock traversing the emotions & experiences caused by sudden uprooting due to losing innocence at an early age just before the stripped-back “PROTECTOR” featuring Rumi Carter encourages that you’ll shine on your own one day.

The a capella “MY ROSE” asks bow many times have you let yourself get you down & after the “SMOKE HOUR ★ WILLIE NELSON” interlude, “TEXAS HOLD ‘EM fuses country pop & contemporary country with stomp & holler advising to lay your cards down. “BODYGUARD” brings an upbeat approach talking about being your lifeguard on top of her being the one to ride shotgun but after the “DOLLY P” interlude, “JOLENE” serves as a homage to one of Dolly Parton’s biggest hits.

“DAUGHTER” asks God to save her from from these fantasies in my head that ain’t ever been safe ones over this haunting acoustic passages while the fiddle/trap hybrid “SPAGHETTII” featuring Shaboozey finds the 2 talking about having shooters even though they ain’t part of a gang. “ALLIIGATOR TEARS” brings a country soul vibe to the table asking how it feels to be adored & after the “SMOKE HOUR II” skit, “JUST FOR FUN” mixes guitars & symphonics talking about time healing all.

Meanwhile, “II MOST WANTED” featuring Miley Cyrus is this country pop duet riding for their partners until the very end while LEVII’S JEANS” featuring Post Malone is this warm guitar ballad that I can definitely imagine going big once summer start rolling around getting sexy a bit topically. “FLAMENCO” goes acoustic once more talking about her mind telling her to settle right now & after “THE LINDA MARTELL SHOW” skit, “YA YA” is this incredibly groovy party starter clappin’ & drummin’.

After the “OH LOUISIANA” interlude, the downtuned “DESERT EAGLE” explains that she has the titler pistol in the backseat of her car because everything really is bigger out in Texas while the country soul “RIIVERDANCE” advises to pounce on that shit. “II HANDS II HEAVEN” cloudily talks about putting the whiskey up high with only God knowing why while “TYRANT” is this dynamic 2-parter d.a. got that dope helped put together showing off her tyranny. “SWEET ★ HONEY ★ BUCKIIN’” featuring Shaboozey has to be another favorite off the album from the fun Pharrell instrumental split in 3 sections to buckin’ like a mechanical bull & “AMEN” passionately ends the middle chapter of the trilogy by asking to have mercy on here.

Country is one of those genres that I’m not the biggest fan of altogether with a few exceptions like Johnny Cash being one of the biggest badasses to ever walk God’s green Earth or even Kacey Musgraves & Wheeler Walker Jr. as modern examples, but Cowboy Carter is a welcoming tribute to Bey’s grandfather much like Renaissance was to her grandmother. The production is mostly rooted in contemporary country & country pop with additional elements of country soul, singer-songwriter, contemporary folk music, & Americana music meshed with songwriting & performances better than most country music in the mainstream today.

Score: 4.5/5

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