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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Rico Nasty – “HVRDC0RE DR3AMZ” review

Maryland recording artist Rico Nasty teaming up with Boyz Noize for her 3rd EP. Turning heads in 2018 off her 6th mixtape Nasty, I was still very much impressed by her unique personality & her eclecticism although it was just ok. However the next spring, she got Kenny Beats to produce her debut EP Anger Management in it’s entirety & that ended up being my favorite body of work of hers even to this day. Nightmare Vacation was a bit of a step down from Anger Management even though it has a good share of bangers like “iPhone” & “10Fo”, but Las Ruinas showed a more experimental side to her & A Nasty Summer was kinda mediocre truthfully. That said: HVRDC0RE DR3AMZ had to be more properly conceived going into it.

“Arintintin” begins the 3-piece offering with a hip house opener talking about feeling a little cheeky & that she finna cause a scene that is until the next joint “Vvgina” asks why would she cry when she can just get high instead continuing the hip hop/EDM crossovers instrumentally. Finally, “H.O.T.” is this dubstep/rap hybrid to close out the EP as Rico makes it known that no one can fuck with her & that’s facts.

All I wanted was for HVRDC0RE DR3AMZ to be better than A Nasty Summer almost a year ago already & although it’s what we got only by a slight margin, I’ll still take it over the predecessor. It’s more focused, Boyz Noize’s production delves into electro house, UK hard house, electro, electroclash and Miami bass & Rico’s performances are a step above also. Whenever she’s ready to put out the sophomore effort, I’ll be here.

Score: 3.5/5

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genre: sadboy – Self-Titled review

genre: sadboy is an Ohio duo consisting of rapper, singer/songwriter, musician & actor MGK alongside rapper & singer/songwriter Trippie Redd. Both of whom have already crossed paths with one another quite a few times over the years on tracks like “all I know”, “Red Sky”, “Pill Breaker” & “Candy”. So obviously looking back on their history of working with one another as well as the simple fact that they’re both from the same neck of the woods, one shouldn’t be too surprised by them forming genre: sadboy & putting out a debut EP.

“lost boys” unceremoniously begins with this emo-folk cut talking about how it’s just another one of those nights again whereas “beauty” takes the somber trap route sampling “Let Go” by Frou Frou dropping corny bars like “Ship across the sand like The Mandalorian”. “time travel” immerses everyone into their worlds showing a back-&-forth chemistry over a spaciously drumless beat while “struggles” goes head-on rock again whining that they’re not happy to be here.

Moving forward, “suddenly” brings that trap flare back trying to be edgy by saying that’s everyone’s alive except for them while the cloudy yet tedious “half dead” moans about being all alone. “hiding in the hills” discusses running from themselves with Satan as Ronny J mixes rock & trap just before the dreary trap cut “no more” talks about giving 0 at this point. J.I.D’s feature on the rap rock “who do I call?” is the best verse of the entire EP asking where do they go from here & the stripped-back “summer’s gone” finishes self-titled by telling y’all to let them dry & rot.

It was pretty much a guarantee that genre: sadboy was gonna come out with one of the absolute worst EPs of the year & they sure did not disappoint considering the standard that was already set by the couplet of singles we’ve gotten in over a week. The poppy trap & rock production is ok considering that both members of the duo have ventured out in those particular sounds previously, it’s just that Trippie’s performances are significantly better than the 2 & they just aren’t enough for me to keep coming back to the EP.

Score: 1/5

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Vega7 the Ronin – “Kawasaki Killers” review

Queens, New York emcee Vega7 the Ronin continuing to dominate the underground releasing his 3rd album to end the first half of 2024. Emerging after enlisting Danish beatsmith Machacha to produce his debut EP The Lead Lined Wall, he would go on to land feature placement on the 5th & final installment of Ty Farris’ historic No Cosign Just Cocaine mixtape series this past February & tap in with Superiorfor his debut Sleep’s the Cousin. It’s been 6 months since the latter & Body Bag Ben is being brought in to produce Kawasaki Killers.

“Imagine That” is this dark intro referencing WWE Hall of Famer, 7-time world champion, 7-time tag team champion & WWE Hardcore Champion The Undertaker iconically defeating fellow WWE Hall of Famer, former 3-time WWE Champion, 11-time WWE tag team champion, the inaugural WWE Hardcore Champion, CWA World Tag Team Champion & TNA World Champion Mick Foley during King of the Ring VI whereas the infernal “New Jack” remembers the late 3-time ECW World Tag Team Champion & SMW Tag Team Champion of the same name on top of likening himself to Undertaker prior to marrying 4-time WWE women’s champion Michelle McCool.

Meanwhile on “Rage Against the Machine Gun”, we have Vega7 heinously making reference to former 3-time WWE Tag Team Champions & WWE Hall of Famers The APA prior to “Ghost in the Shell” featuring Body Bag Ben himself throws in a bar regarding the late WWE Hall of Famer, former WWE Champion, 2-time WWE United States Champion, 2-time WWE Intercontinental Champion, 4-time WWE Tag Team Champion, 2-time WWE Cruiserweight Champion, 2-time ECW World Television Champion & AAA Mundial Parejas Campeon Eddie Guerrero.

“The Gray Man” brings an unsettling boom bap vibe to the table comparing himself to Walter White from my all-time favorite show Breaking Bad just before the title track references AJPW世界タッグチャンピオン & WWE’s former Head of Talent Relations John Laurinaitis, who admitted almost 2 months ago that the Endeavor-owned TKO Group Holdings division’s former CEO Vince McMahon held power & control over him making dictatorial sexual demands with repercussions if they weren’t met in light of the former self-booked WWE Champion & ECW World Heavyweight Champion’s ongoing sex trafficking scandal.

To get Kawasaki Killers’ last leg rollin’, “Lion Tamer” hooks up a bloodcurdling boom bap instrumental promising he can take the best rapper you know & break his spine using the aptly named object while “Scott Summer Shades” featuring Body Bag Ben again treats treating garbage like the Earth at it’s equator. “Hip-Fire” boasts him taking the cap off the pen he writes with & magma coming out of it, but then “Harley Bandanas” talks about him making music as if it’s gateway computed.

Following a Hell-&-back journey, Vega7 turns personal experiences of pain & streetwise knowledge into elevated rhyme schemes over Ben’s impeccable production paired with an enterprising tone & flow that cuts through the fog making the listing experience from the top to the bottom a declaration leaving the listener stuck between Earth & the Afterlife musically steeping into a dystopian city where the sonic mischief are the only source of salvation in a world filled with mediocrity & force feed elitism.

Score: 4.5/5

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Gibby Stites – “Pariah” review

Millville, New Jersey emcee/producer Gibby Stites coming off the 4th installment of the Family Tree series with a new EP. Getting his start in the music industry over a decade ago off his first 2 mixtapes Gillmatic & Broke n Local, he wouldn’t catch my attention until performing a set during Netfest On Your Couch during the 2020 COVID-19 lockdowns. Later that fall, he signed to Majik Ninja Entertainment & I had the honor of interviewing him shortly after the deal was made public. The 13th Wonder pretty much showcased Gibby to the juggalos as Jamie Madrox’ protégé & Welcome to iLLViLLE several months later took listeners through exactly where he comes from, but decided not to renew his MNE contract to form his own label iLLViLLE Worldwide shortly after. Off Air from last summer marked his return behind the boards after 5 years & is so far my favorite thing he’s done since leaving Majik Ninja, so I was interested in Pariah after being announced a couple months ago.

The title track gets the ball rolling with a somberly self-produced trap instrumental talking about why he sets it off & that they won’t ever stop him whereas “Memory Card” works in a guitar & hi-hats admitting that he really doesn’t give a fuck about a brand. “Swerve” keeps the dreary trap vibes going hittin’ ‘em with the cold facts prior to “Real Life” featuring Lingo brings a summery atmosphere to the table talking about layin’ down more personal subject matter.

“The Business” featuring EnzoHard incorporates this orchestral sample from DJ Emaculate with kicks & snares as both of them discuss going up in the music industry essentially just before “Eastside 3.0” ominously represents the East Coast for 3 minutes. “Suffocate” closes Pariah by fusing trap & rock confessing that it doesn’t hurt him to say the space in his heart nowadays has turned vacant.

Juggalos are generally divided when it comes to Gibby Stites, yet it’s undeniable to me that this EP has to be one of the most meaningful entries in his discography. The production altogether is generally more mellow than anything he’s put out in the past & it has an interesting mental health concept throughout except it’s coming from his own perspective.

Score: 4/5

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BlueBucksClan – “Biggest Out the West” review

The BlueBucksClan are a duo from Los Angeles, California consisting of DJ & Jeeezy who’ve been making themselves known in the nervous music scene by putting out a couple mixtapes & EPs alongside 3 full-length studio albums of material. All of which so far if I’m being honest ranges from ok at best to obnoxiously annoying at worst, but my interest in their 4th LP over here peaked since it was announced that Hit-Boy was going to be behind the boards throughout the entire duration of it.

“Forever” is a 2-minute hyphy opener calling out those who haven’t run it up yet & that nothing lasts eternally in the end whereas “Open Slot” works in a dark, sinister & menacing sound with heavy sub-basses, simple melodies & slow, sparse & slamming drums boasting that they could’ve opened up a mom & pop shop. “World Tour” goes into a synth-based direction talking about having bitches all over the globe that is until “Safe Space” brings a vibraphone-trap flare to the table telling their hoes to go do their thang.

2 Chainz joins the BlueBucksClan on the playful “Scroll” talking about driving the Lamborghini slow rockin’ designer clothes to the floor in the midst of looking for your hoe just before “Useless” takes a cloudier approach as they make it clear that even their ex-girlfriends will tell people that they’re real ones out here. “Made for the People” was a fun choice of a single suited for all the clubs out in the west coast, but then “Color Purple” gives me a bit of a psychedelic trap vibe putting their shit on huddle since they ballin’ so hard.

“Ship & Handle” has this gritty trap approach to the beat refusing to fuck with haters & that the duo done told y’all they run the globe leading into “Soul Taker” featuring Half-a-Mil has a bouncy yet somber groove instrumentally talking about bitches texting them. “Standing Tall” hooks up an organ with hi-hats hanging with some made people out here while “Fantastic” carelessly talks about their pockets big flexing these days.

The song “Don’t Count Me Out” featuring Kalan.FrFr & Ty$ is an ok banger to keep the parties going advising that none of them should be counted out at this point in their careers while the piano-drive penultimate track “Dog a Bitch” talks about knowing who the biggest dogs are around here. “Momentum” rounds out the album with 1-last nervous cut calling themselves Dodgers since they got pockets full of blue.

Artists that come to mind when talking about the nervous scene include the late Drakeo the Ruler or even Mozzy, but Biggest Out the West if anything takes the BlueBucksClan to the next level. The production is more consistent than what they’ve done previously since Hit-Boy completely refines their whole style on top of their performances improving & a minimal guest-list.

Score: 4/5

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Jalen Frazier – “The Drop” review

This is the full-length debut studio LP from up-&-coming Detroit emcee Jalen Frazier. Getting his footing in during the fall of 2020 off the strength of his debut EP Expressions of the Neglected, he would continue to turn heads in the local underground scene last summer with the follow-up God Bless My Chalice. But for his first proper album, Middle Finger Music co-founder as well as one of the most in-demand producers that the Motor City has seen in recent memory Foul Mouth is being brought in for The Drop.

“Run In Packs” gets things rolling with this grimy ass boom bap instrumental & Jalen talking about talking about all he knows out here in Detroit is to attack whereas “Curbside Service” fuses vibraphones & boom bap drums detailing the street life. The groovy “Soul Check” asking for God to forgive him for the sinning that he’s been committing just before “Prince of a Brick” featuring Bizarre formerly of D12 was a dustily hardcore choice of a single detailing the savage lifestyles that they live.

Moving on from there, “Braille” has this drumless soul flip acknowledging that motherfuckers be moving funny and that they shouldn’t be getting it confused prior to “Profit $ee” featuring Chubs & Dango Forlaine bringing the trio together bringing back the kicks & snares so they can collectively get on their battle shit lyrically. The piano/boom bap hybrid “Sworn Enemy” looks to shed blood if you fuck with what he loves, but then the cloudy yet dusty “Effervescence” talks about being out here grinding.

“21 Grams” rawly looks to isolate himself so he can just chop it up with his conscious while “Choppin’ Block” lavishly talks about done, doing everything the shit y’all on. “Code of the Street” mixes a guitar with kicks & snares spittin’ real talk while “Murder” begins the encore of The Drop by bringing these strings, kicks & snares together rubbing it in your face that he & his crew have done mastered everything you’ve wanted to attempt out here. “Even Keel” wraps up the album on a rap rock note saying that this pussy done lost him the moment that he tried to test him.

I’ll just come out & say that Jalen’s voice kinda sounds like Westside Gunn’s a bit but once you get past that, he does have some dope bars & Foul Mouth helped bring the bus out of him on this album. It’s more well produced than what Jalen has done previously being more introspective & socially conscious than before touching on a vast range of topics from personal struggles & triumphs to commentary on the state of the world.

Score: 4/5

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Future – “We Don’t Trust You” review

This is the 10th full-length LP from Atlanta, Georgia rapper & singer/songwriter Future. Coming up as a member of the Dungeon Family thanks to his cousin Rico Wade of Organized Noize, he officially made his debut in 2012 with Pluto & would later follow it up with a hot streak of modern day trap essentials like Honest, Monster, Beast Mode & my personal favorite of his: D.S. 2 (Dirty Sprite 2). However since 2017, Future has mostly been painting himself in a corner & prioritizing quantity over quality. I mean sure HNDRXX took a more sensual approach & SUPER SLIMEY showed a pretty great chemistry with fellow trap trailblazer Young Thug, but Beast Mode 2 was a step down from the predecessor & he got with Juice WRLD to put out a collab tape that literally should’ve never happened: WRLD on Drugs. Finally at the very beginning of that next year, The WIZRD was just passable even though it showed NO artistic evolution whatsoever & Save Me was a decent attempt at being more vulnerable, High Off Life admirably found him staying true to himself in the midst of trying new things & I Never Liked You put the toxicity claims about him to rest. That said: Metro Boomin’ reuniting for Future’s first double album since FUTURE HNDRXX was surely going to surpass them both when you think about the history between the 2.

The title track is a cloudy trap opener with some synthesizers talking about having hate written all over you leading into “Young Metro” taking them into church with co-production from Mike Dean & even The Weeknd supplying additional vocals. “Ice Attack” finds the So Icey Boyz takes the dynamic route instrumentally cautioning not to put too much jewelry on, but then the bell-driven “Type Shit” featuring Playboi Carti & Travis Scott is essentially the new “Carnival” finds the trio making it known that they do NOT fuck with rats out here referencing WCW founder Ted Turner.

“Claustrophobic” starts with pianos, strings, hi-hats & a spoken word Prodigy intro talking about feeling claustrophobic himself just before the horn-inflicted “Like That” featuring Kendrick Lamar finds the trio or quintet of you include ¥$ on the remix talking about poppin’ bottles & Kendrick recapturing that “Control” aura sayin’ “Fuck sneak dissin’, first person shooter, I hope they came with 3 switches I crash out like “Fuck rap,” diss Melle Mel if I had to. Got 2TEEZ with me, I’m snatchin’ chains & burnin’ tattoos” alongside “Motherfuck the big 3, n***a, it’s just big me” followed by “I’m really like that & your best work is a light pack, Prince outlived Mike Jack. ‘Fore all your dogs gettin’ buried that’s a K with all these 9s, he gon’ see Pet Sematary”.

The otherworldly atmosphere of “Slimed In” goes forward getting on his slime shit suggesting that y’all should be hittin’ him up through the Meta Platforms-owned WhatsApp & having additional Young Thug vocals on the pre-hook while “Magic Don Juan (Princess Diana)” is this off-the-wall 2-parter co-produced by Boi-1da & Honorable C.N.O.T.E. likening himself to Bishop Don Juan serving as the soundtrack to buying drip to.

Travis joins Pluto on the psychedelic “Cinderella” talking about their racks being stuck together while “Runnin’ Outta Time” has to be endearing moment on the album featuring co-production from Zaytoven admitting that he can’t trust nobody calling out everyone that has ever turned his back on him. “Fried (She a Vibe)” goes back into a cloudier direction talking about still being high from the other night while the symphonic/trap crossover “Ain’t No Love” co-produced by Outtatown clarifies that it isn’t love when motherfuckers be acting fake out here & that’s facts.

“Everyday Hustle” featuring Rick Ross has a more soulful flare to it as they both discuss hustling 24/7 while the WWE Bad Blood IV theme song “GTA” finds the So Icey Boyz & Wheezy hooking up keys & hi-hats looking to crash out. The song “Seen It All” flips “Quiet Storm” by Prodigy feeling like he truly has seen & done it all while the penultimate track “W.T.F.Y.M. (What The Fuck You Mean?)” kinda has this otherworldly tone to the beat going crazy in the trap. “Where My Twin @?” concludes Future’s best album since DS2 by paying tribute to Thug.

Future’s output in the last 7 years has generally been mid although I do enjoy the highlights off each album, but We Don’t Trust You is basically a refined version of self-titled & Future’s strongest LP in almost a decade. Metro has evolved tremendously behind the boards since they last worked with one another, the hidden features were a fun touch & Pluto is absolutely back in his element. We Still Don’t Trust You in a few weeks has pretty much been confirmed to be a spiritual successor to HNDRXX stylistically much like this & if anything, it’ll make you love We Don’t Trust You more.

Score: 4.5/5

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Joyner Lucas – “Not Now, I’m Busy” review

Worcester, Massachusetts rapper & singer/songwriter Joyner Lucas back with his sophomore full-length LP nearly 4 years to the day of his debut ADHD. Somebody who first came to my attention in late 2016 with an incredible verse on “Sriracha” off of Tech N9ne’s 17th album The Storm, he exposure would increase the following year with the single “I’m Not Racist” along with a verse on “Lucky You” off of Eminem’s 10th album KAMIKAZƎ the year after that & ADHD was released during the COVID lockdowns to negative feedback from both critics & fans. Not Now, I’m Busy was said to be cancelled last summer & is releasing it now that spring’s approaching.

The cloudy trap intro “Put Me On” bites the “turned your bird into a ex, I feel like Elon” line from Freddie Gibbs’ verse on “Back to Me” off of ¥$’ debut album Vultures whereas the instrumental on “I’m Ill” sounds like some generic club shit looking to get in his zone. “Waiting on This” works in horns & hi-hats much like “Trophies” or “Laugh Now, Cry Later” by Drake telling y’all “The day that you bastards’ll play me will be thе same day me & Jennifer Lopez announce that we gon’ be havin’ a baby” just before “Broski” is a decent conscious hip hop/contemporary R&B crossover talking about a childhood friend of his.

“Fake Promises” advises to separate yourself from all the noise stripping the drums completely over an atmospheric backdrop while “When I Need Love” heavily samples “Who Can I Run To?” by Xscape to deliver a trite pop rap ballad. “Cut U Off” featuring YoungBoy Never Broke Again gives off this blandly eerie trap vibe getting boastful with YoungBoy having the better performances of the 2 leading into “What’s That?” dropping cringey bars like “I gotta lift the weight, tell all my bench to press” or “It’s a wrap that’s word to Chipotle” over a decently dynamic trap beat.

Conway the Machine murders Joyner on his own shit with the boom bap/chipmunk soul crossover “Sticks & Stones”, but then “Best for Me” featuring Jelly Roll on the hook sends a profoundly touching message to someone in his life that he really cares about being caught up in drug addiction. “I Didn’t Go” featuring the late DMX & Symba finds the trio discussing getting rich being their only plan over a dreamy boom bap instrumental while “3 Little Pigs” talks about 3 cops & the beat here kinda sounds Daringer-influenced.

“24 Hours to Live” overdramatically explains what he would do if he only had a day left on Earth shifting gears back into trap territory mixing some pianos into the fold while “Still Alright” featuring Logic & Twista shoots for a dreamier approach sonically showcasing speedier flows. “17” ruins one of my favorite Mac Miller songs “Donald Trump” previously praying for times like this while “How Much Do You Love Me?” prior to the titular outro gets back in his annoying pop rap bag.

I really did see the potential in Joyner almost a decade ago when he first started getting more exposure, but waiting 4 years in-between every album & releasing half of it as singles building up to release day still isn’t quite the solution to rolling out a significant body of work. Much like ADHD, what we have from him is another disappointment. The features are ok, but the production feels flat & every some of the lyrics at times also.

Score: 2/5

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