Matt Champion – “Mika’s Laundry” review

Woodlands, Texas rapper, singer/songwriter & producer Matt Champion releasing his full-length solo debut LP. Someone you may know for being a founding member of the now defunct BROCKHAMPTON collective alongside Kevin Abstract, Ameer Vann, Merlyn Wood & JOBA. He also released a solo EP Harley in the spring of 2017 right before the classic SATURATION trilogy but now that the best boy band since 1 Direction broke up a couple years ago already, Matt’s stepping up to the plate by releasing Mika’s Laundry following Slime in the Ice Machine & Blanket.

The self-produced “Green” starts us off smoothly talking about that Alabama blue whereas “Aphid” featuring Dijonfuses neo-soul & alternative R&B with additional elements of pop rap, psychedelic soul & even bedroom pop asking if one can say hallelujah for him to know they’re wild. “Steel” featuring Dora Jar brings a funkier groove to the table instrumentally not minding if his lover asks him to hurry, but then the vibrant albeit woodwind-driven “Gbiv” talking about blowing the paint like a piston.

Meanwhile, “Purify” groovily asks if he can trust this individual just before “Dogfish” mixes indie rock, art pop, slowcore, neo-soul & experimental hip hop all into 1 talking about the kind of smile people say he has. “Code Red” gives off a melodic trap flare thanks to Jabari Manwa hoping his lover is ready to go leading into the synth-heavy “Aren’t You Excited?” talking about wanting to be a part of her world except that he’s stuck inside a video screen.

“Slug” crosses over electro-disco, neo-soul boogie, synth-funk, synthpop & psychedelic soul desiring someone he’d never leave no matter what he does while the summery “Everybody Likes You” asks his partner what they do when no one else is around. “Project” acoustically gets reminded why he let an ex of his go while “Slow Motion” featuring JENNIE dabbles with atmospheric liquid drum fusing that with adult contemporary, art pop & alt-pop talking about moving slowly. The delicately-produced closer “Meetin’ You” finishes Matt’s first solo album never needing another thing.

Kevin went for a completely different sound on Blanket last fall & for anyone who liked the alternative R&B/neo-soul direction that Harley took months before BROCKHAMPTON’s popularity skyrocketed, you should know what you’re getting yourself into on Mika’s Laundry. Matt’s continuing to reveal his artistic range with his passionate songwriting/vocals generally going for a predominant alt-pop feeling with undertones of alternative R&B, neo-soul, pop rap, art pop.

Score: 4/5

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G-Mo Skee – “Filth City” review

Richmond, California lyricist G-Mo Skee enlisting Boston producer Stu Bangas for his 4th full-length LP & the first since returning to Majik Ninja Entertainment. Emerging as a member of the trio Stampede & later the Inf Gang. He would drop 2 official mixtapes Got Filth & Got Filth II: The Great Adventures of G-Mo independently before Twiztid signed him to Majik Ninja Entertainment in 2016. His full-length debut My Filthy Spirit Bomb coming out that same winter to significant acclaim, but I personally think G’s sophomore effort Chaly & the Filth Factory is his best work so far because of it’s incredible concept & the instrumentals accompanying it (mostly handled by former Strange Music in-house producer MIKE SUMMERS a.k.a. 7). The previous album The Filth Element commemorated his 30th birthday by proving that he didn’t need MNE until returning to The Dojo on 8 Bit Filth II: Hero Hunter last fall & is now turning Filth City from an EP to an actual album ahead of his upcoming Astronomicon appearance.

After the soulful intro, the title track starts us off by advising not to come to Filth City since shit can go left over a boom bap instrumental whereas the grimy ass single “Work Magic” references 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. “Jumped” hauntingly incorporates more kicks & snares obviously talking about not fighting fair with people who run up on him while “Evil Plans” sounds like something out of a horror flick keeping it dusty at the same time advising that you’re gonna see him act like an animal cleverly referencing The Animal.

After the interlude, “Diamond in the Dirt” links up with his Inf Gang brethren Jae Harmony & Nobe saying you’d have to time travel to beat them in a rhyme battle & to find them lurkin’ in the underground along with it being time for them to show ‘em what it’s worth on top of this eerie ass boom bap beat while “All in Your Head” featuring Linzy & Jaylin Skee on the intro & TheArtLawd on the outro brings these colorful vibraphones into the picture discussing fatherhood, worrying about shit that might happen & making good out of the bad he represents. “Autistic” featuring Kvng Moses has these sick ass synthesizers mixed with kicks & snares flexing that he eats more rappers than the ASTROWORLD Travis Scott entrance when they walk in it, but then the synths on “G-Mo University” feel like something out of a Sega Genesis game since it’s no secret that G’s a gamer talking about coming down to get a Filthication.

“Story to Tell” instrumentally goes for a dejecting approach telling a true story although he can’t say their names & that it gets messy while the rugged lead single “Postcards from Hell” talks about how he was raised with all the killers & dope fiends being on the frontline with everyone else in the nosebleeds. “2 the Side” featuring Young Zee of the Outsidaz aptly advises everyone to fall to the side over some Atari-like synths, kicks & snares calling your rap style more outdated than a payphone & that they’re more stuck-up than bitches are these days. And before the futuristic “Credits” outro, the final song on the album “Escape” serves as a climatic finish talking about the city to the point of no return & understandably looking to get the fuck outta there.

8 Bit Filth 2: Hero Hunter was a fun return to MNE for G, but I already knew Filth City would be a standout in his discography since his lyricism is unmatched & Stu Bangas is simply one of the absolute greatest underground producers ever. However after hearing that it wound up being an actual full-length after initially set to be an EP, my expectations increased immensely & we sure enough got one of the best albums of 2024 joining The Chainsmoker II from over a couple weeks ago in being a Hell of a way for Majik Ninja to start the year. Conceptually, the filthiest of them all takes us through what it’s like in Filth City as Stu gives G-Mo some of the coldest production he’s EVER murdered. I know it’s been a hard time for his family right now & I’d like to offer him my DEEPEST condolences, but this album is a special moment for him & I couldn’t be more proud of him. Be sure to catch him on tour with Rittz right now & at Attack of the Ninjas shortly after. I’m most certainly looking forward to the latter.

Score: 4.5/5

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Santana Fox – “Eye Candy” review

Santana Fox is a 26 year old MC/producer from New York notable for being the daughter of the late Prodigy of Mobb Deep fame. She eventually followed in her father’s footsteps making music of her own couple years after his untimely passing putting out a handful of singles up until the full-length debut Girl Next Door celebrating it’s 2-year anniversary this summer. However after seeing that her debut mixtape over here would be fully self-produced, I went into it thinking that she would level up artistically since her potential has already been shown previously.

The first song “Space Cadet” after the the “Wicked Poet’s Prelude” intro begins with kicks, snares & pianos so she can flow like a UFO following the “Hotline” skit, “Vinyl Dust” keeps it grimy instrumentally talking about going viral to spite who used to be her favorite rapper snatching their sound back. “Fight Me” featuring Pohlosweater brings a synth/boom bap vibe to the fold boasting they ain’t seen or heard anything like them & after the “Hypnotherapy” interlude, “Tokyo Trippin’” lusciously clarifies that the drugs do her as apposed to her doing drugs herself & the consequences of her spoiled ways.

Mike Shabb joins Santana on the title track with the best feature on the tape incorporating a darker sound asking who do they become just to make them happy & after the “Sittin’ by the Lake” skit, “Pray4Mine” keeps it rugged talking about always praying for her n***a. After the “Cards Never Lie” skit, the penultimate track “Moment of Silence” featuring Prodigy himself pushes near the end of a rawly asking her father why they actin’ like they owe her something before he leaves & the closer “Count Me Out” closes up shop with some pianos brushing off those downplaying her.

It sorta feels like an EP if you remove all 5 of the skits & interludes but at the same time when you keep them in, it’s more of a mixtape & one that I think any Mobb Deep fan like myself would find themselves enjoying because Santana’s very much carrying on her dad’s legacy in her own way & I’m sure he’s looking down on her proud of what a groundbreaking entry that Eye Candy is in her discography. Her production’s is a cut above Girl Next Door’s as are the couplet of features & her songwriting being kicked up a notch.

Score: 4.5/5

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Kembe X – “Sleep Paralysis” review

Chicago, Illinois emcee & Top Dawg Entertainment affiliate Kembe X returning for his 3rd full-length album produced by Sacramento duo Hippie Sabotage & his first in nearly 5 years. Getting his start over a decade ago with the debut EP Soundtrack II Armageddon & the debut mixtape Self Rule, his profile would continue to grow off the strength of the debut LP Talk Back as well as an eponymously titled 2nd EP & the sophomore effort I Was Depressed Until I Made This. He’s worked with the Saurer brothers a few times in the past, but they’re finally releasing Sleep Paralysis after working on it for a whole year.

“Fade the Sun” starts us off with a lively danceable opener telling anyone who wants a piece of him to get in line whereas “Pole Vaulting” hops over a trap instrumental to talk about being over the bullshit. “King” works in a more rubbery beat to remind y’all that he’s royalty around these parts prior to the synth-driven “Love Songs” taking a melodic approach talking about never seeing a king of romance that went wrong.

To end the first half, “Shallow” brings a cloudier vibe to the table wanting to be called a visionary who did it first when it’s all said & done while the atmospheric “Where Demons Come to Die” admitting he damn-near lost his soul & sacrificed his peace. “Kill Everything in the Way” declares himself as the new leader of the resistance over a slow boom bap beat just before the wavy “Rolling Stoned” featuring Isaiah Rashad talks about keeping it cold, fresh & clean.

One of my favorites on the album no question has to be “Start a Business” from the groovy instrumental to the motivational lyricism encouraging people to start up their own businesses since they can’t be employees for the middle man forever & finally, “Baby I’m Up” concludes Sleep Paralysis with a 7 & a half minute ode to his success after people tried to leave him for dead & drag his name through the mud.

TDE’s been slowly but surely allowing the biggest artists on their roster to release new music in recent years after making their fans wait forever, so it makes perfect sense for Kembe to make a comeback & one that new listeners will find themselves invested in. He’s exploring new sounds with the help of Hidden Sabotage & the subject matter is significantly more personal than his early stuff was.

Score: 4/5

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Nascar Aloe – “Speed” review

Nascar Aloe is a 24 year old rapper & producer from Lexington, North Carolina who’s released a total 6 EPs as well as a mixtape & a full-length debut album since the late 2010s. He even performed at the 21st annual Gathering of the Juggalos in the summer of 2021, which to date is the only Gathering that I personally have been to. Now his set didn’t do much for me, but I could definitely see why he was booked for the festival since he’s in that trap metal subgenre. That said: I didn’t realize that he was signed to Epitaph Records since the beginning of the decade actually & hoped that his 7th EP would win me over.

The titular intro screams his brains out over a self-produced industrial beat to stop playing with him whereas “Blitz” mixes trap metal with synth-punk talking about wanting full-blown destruction as opposed to a bust down. “S.M.B.U. (Smack My Bitch Up)” dabbles with drum & bass feeling like wanting to assault his girl just before “Fuck! Ah!” featuring N8NOFACE returns to an industrial sound about your head looking better when it’s decapitated.

“Chum Reap Suor” brings a bouncier instrumental into the fold while “Skidrow” asks if you want to stroll down the streets of the slums mixing rage with pop rap & trap metal. “Tall Cans” featuring St!nk gives drum & bass another shot reminding life isn’t nice & you’re all fucked to them that is until “In My Head” finishes the EP by tackling themes of paranoia.

There are artists in trap metal like City Morgue or the Dropout Kings & Ghostemane who all do that style of music incredibly well, but others simply don’t scratch that same itch for me like Kid Bookie & you can throw Nascar Aloe in there too. He’s actually not a bad producer at all & there are some interesting ideas in his production, I just can’t say the same about his songwriting & performances.

Score: 2/5

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Tierra Whack – “Worldwide Whack” review

Tierra Whack is a 28 year old rapper & singer/songwriter from Philadelphia, Pennsylvania who broke in 2018 off the strength of her debut mixtape Whack World after signing to Interscope Records. She has since dropped a handful of singles along with a trilogy of EPs & even landing some very impressive feature placements, the most notable being “T.D. (Tokyo Drift)” off Lil Yachty’s 5th tape Lil Boat 3. So it only makes sense that she struck while the iron’s hot for her full-length debut studio album over a month after former 2-time AJPW三冠ヘビー級チャンピオン, 4-time AJPW世界タッグチャンピオン, MLW World Tag Team Champion, NWA World’s Heavyweight Champion, NWA World Tag Team Champion, 2-time IWGPヘビー級チャンピオン, 7-time IWGPタッグチャンピオン 2-time NEVER無差別級6人タッグチャンピオン, GHCヘビー級チャンピオン & GHCタッグチャンピオン小島聡 became a record 2-time MLW World Heavyweight Champion at SuperFight IV.

“Mood Swings” is a calming opener to the LP talking about trying new things due to Tierra mother being tired of how her mother is sick of her constant changes in mood whereas “Ms. Behave” takes the hip house route instrumentally basically refusing to act right referencing the Discovery Global-owned Discovery Channel’s annual weeklong programming block Shark Week. “Chanel Pit” fuses trap & pop rap talking about being the shit that you smell excelling more than Microsoft prior to the atmospheric “Numb” talking about being at the final stage of the numbness she’s felt since her youth.

On the other hand, “Burning Brains” gives off a subdued vibe to the beat although the biggest complaint I have with this track is that it feels underwritten that is until “Accessible” brings a sadder atmosphere to the table cutting ties with a romantic interest due to their accessibility. “Imaginary Friends” tropically talks about her friend Tony for almost 3 minutes just before the instrumental on “X” brings some industrial undertones advising to find someone better or else she will.

“Moovies” hops over synthesizers to ask her man to take her on adventures leading into the vulnerable “Difficult” talking about feeling stressed & deprived throwing a hint of optimism towards the end by saying you can’t let it get you down since we all have issues. “Shower Song” dabbles with synth-funk likening the shower to the stage, but then “Invitation” peppily talks about her style being so rare that it’s hard for her to describe.

The song “Snake Eyes” addresses everyone who views her as a threat over a piano-laced trap instrumental referencing 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 while the aptly nocturnal penultimate track “2 Night” talks about not paying the light bill this month in the midst of possibly dying that evening. “27 Club” fuses bedroom pop & alt-pop to link the concept of suicide to the titular term used for celebrities who’ve passed at 27.

Really if anything, Worldwide Whackserves as another reminder that T-Dizzle’s one of the most creative women in hip hop today & you get a glimpse of her at her most vulnerable in the process. The production teeters between pop rap & alternative R&B with additional elements of trap & alt-pop as she tackles themes of abandonment, depression, suicidal thoughts, uncertainty, lust & loneliness.

Score: 3.5/5

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Bktherula – “LVL5 2” review

Atlanta, Georgia up-&-comer Bktherula returning with a sophomore LP & a sequel to her previous EP LVL5. Coming up 7 years back as a pop/R&B singer, she eventually broke out in the plugg scene after dropping the single “Tweakin’ Together” produced by my lil homie Premiere Maxx off her debut mixtape Love Santana. This resulted in her signing to Warner Records, following it up with her sophomore tape Nirvana along with the full-length debut Love Black & the previously mentioned LVL5. So over a year later, it makes total sense to put out the next installment.

“Code” is this rage-inducing opener admitting she hasn’t been in the studio in almost a week & it’s been taking a toll on her personally whereas “Nun” works in a cloudy trap instrumental asking why this person’s hitting her phone up when they ain’t even doing shit. “Tatti” brings some hypertrap undertones into the fold discussing self-confidence, empowerment & sexual liberation prior to “Boi” taking the spacious trap boasting that she kissed your favorite bitch.

Cash Cobain hooks Bk up with his signature sample drill on sound “Shakin’ It” bragging that she’s having it, making it & breaking it while the otherworldly “Just Make Sure” saves the drums for the last 30 seconds so she can demonstrate her range showing her singing chops for a couple minutes. “Wishuwasdacrew” gives me a quasi-industrial vibe airing out who was supposed to her down bitch, but then “Insane” produced by Ayelavish! vibrantly talks about going crazy with it.

“Crayon” expresses her desire for the lace front with the brown at the top & the teal at the bottom over a synth-trap beat just before “Woman” featuring J.I.D talks about exes backed by a high-pitched sample. “Feathers” keeps the industrial influences going flying to the top & losing the feathers of her wings in the process while “The Way” dabbles with alternative R&B once more telling her significant other how much she loves the way they light up the room. “Racks Up” ends the album by singing over a guitar about her pockets getting bigger.

The first installment had a relatable theme of tapping in with your spiritual side, but the follow-up portrays a significant evolution in her artistic & spiritual journey. It’s significantly more mature than what she’s released in the past by fearlessly conveying the message that there’s no such thing as being blacklisted/blackballed & you don’t have to follow the same blueprint as everyone else.

Score: 3.5/5

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Rafa – “Good Girls Don’t Exist” review

Detroit rapper Rafa is back with his 3rd EP. Coming up as a member of the WRLD Tour Mafia a couple years ago, he would also begin a solo career of his own starting on Thanksgiving 2020 with his debut EP Not for Household Use & followed it up in the form his full-length debut Dog$hit & Ammunition. Last we heard from him was almost a year & a half ago when he put out an eponymous EP that I still consider to be his strongest solo effort to this day, but is applying pressure with Good Girl’s Don’t Exist since DaeMoney dropped Rockstar Lifestyle 2 earlier this month.

The title track is a cloudy opener clarifying that there are no such thing as good girls to him whereas “Waste No Time” is an acoustic trap hybrid ripping his heart out & putting it on display. “Luv a Do” dives into the Detroit trap sound throwing some synthesizers into the fold going ape shit like he was hanging around Nigo just before “Money Virus” melancholically admits he don’t know how to live & is unable to trust his homie.

“Cash Rules” fuses rock with trap saying he’s never met another woman like the one he wrote this song for while the “Interlude” takes the atmospheric route hoping to be a billionaire like one of my top 10 producers Ye since making money is a hobby for him. “200 Days (Malala)” talks about coming a long way & previously doing stuff ass-backwards over a dreamy trap instrumental prior to “On Me” featuring Rally & Samuel Shabazz dabbles with plugg being able to tell the love ain’t there.

The untitled penultimate song continues to draw near the end of the EP by bringing rage beats into the picture acknowledging that there are so many things for him to figure out, but then “A$AP & Riri” finishes Good Girls Don’t Exist by talking about being too busy getting rich & refusing to let a hoe have his kid going for an entrancing vibe instrumentally. “Matchin’ Tracks” cloudily starts the deluxe advising to stay down until you up while “Understanding” hops over a sample-woven trap beat addressing someone he can’t live life without.

“I Luv WRLD Tour” psychedelically bridges the halfway point of the bonus track run representing the crew that he stay running with while “Rafa Bieber” pulls inspiration from the trillwave scene once more talking about handling the trials & tribulations by his lonely. The final bonus cut “Surf Gang” featuring Rally wraps up the deluxe on some plugg shit bragging over being more lit than propane itself.

It’s only a couple weeks after Slae put out Rockstar Lifestyle 2 & here we have Rafa continuing to elevate the WRLD Tour Mafia by putting out an an EP that I actually believe tops Not for Household Use almost 3 & a half years ago by now. His sound is growing & lyrically, he has to be right behind DaeMoney as my favorite member of what has to be one of the most exciting up-&-coming groups in the Detroit trap scene.

Score: 3.5/5

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Germ – “Every Dog Has It’s Day” review

Atlanta, Georgia rapper Germ finally releasing his full-length debut LP. Coming up in 2016 off his debut EP Bad Shit, this was followed up with a sequel tape Bootleg the next spring & the summer after that, he signed to G*59 Record$. He went on to release a couple more mixtapes & another EP, but has yet to release an official album up until Every Dog Has It’s Day coming off Ramirez’ latest EP From tha Guttah to tha Grave alongside $crim’s latest solo efforts Lonely Boy & Lonely Boy 2.

“Say No More” is a woodwind-infused trap opener produced by $crim talking about the fact that he’s got next referencing WWE Hall of Famer, 6-time WWE world champion, WWE Intercontinental Champion, WWE United States Champion, WWE Tag Team Champion, WWE Hardcore Champion, IWGPヘビー級チャンピオン, the inaugural 6-time TNA World Champion, TNA X Division Champion & 2-time TNA World Tag Team Champion Kurt Angle whereas “Graveyard Shift” working in these jazzy horns with hi-hats boasting the lifestyle that he’s living. “CC” hops over a rage beat from RXLVND so he can talk about needing space leading into “Lurkin’” hooking up another hypertrap instrumental calling out everyone who be afraid of him for being nervous.

The most annoying hook on the album has to be on “Sick Baby” despite the subject matter of being unable to feel his face due to inebriation, but then “Live From the Deep End” featuring Black Kray was an ok single shooting for a cloudier atmosphere taking everyone through the gutter. “Pulling Up” featuring the $uicideboy$ shows an unhinged side to the trio with an appropriately morbid atmosphere to the beat just before the stripped back “Currensy Hymn” talks about being a sight to see.

“Mud Diaries” goes into a synth-based direction flexing that his pockets be on chunky while “Off That Shit Again” featuring TiaCorine psychedelically talks about being unable to feel their faces since they’re under the influence. “ESPY” gives off a Memphis vibe instrumentally so he can ball hard while “The Green” happens to be another acoustic trap fusion stacking up his bread. “Tesla” featuring Lil Gnar wraps up the album by getting on some Big Bad Gnar Shit for the 1 time taking it’s name after the multinational automotive & clean energy company.

Bad Shit & Bootleg both capture Germ at his hungriest, but Every Dog Has It’s Day is a worthy debut LP from Beer Can Dan & the best thing he’s done on G*59 other than the trilogy of collab EPs with $B or even Kevlar Money Bags from last summer. He finally gets his most successful moment in life as the production expands beyond the trap/Memphis rap wheelhouse that the label is known for from rage to jazz & psychedelia.

Score: 3.5/5

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Chyna Streetz – “From Hell to Chanel” review

This is the full-length debut album from Brooklyn emcee Chyna Streetz. Starting in the spring of 2018 off her debut EP Weird Girl Antics, she followed this up with 2 more EPs in the form of both Hourglass & more recently Visions respectively. That said: I knew that From Hell to Chanel had to be the next artistic evolution for Chyna compared to those early EPs. Especially considering the fact that SmokerMs Club Records in-house producer 183rd did the whole entire thing top to bottom.

“Chanel Boy” starts by mixing a flute with kicks & snares exclaiming that we done let the right one in whereas “Emerald City” goes for a cloudier atmosphere talking about those moving sloppily even when they’re the ones who be rolling the dice. “Sirens Lullaby” goes straight g-funk reminding everyone that’s listening of the fact she’s been had motion leading into Rome Streetz joining his wife Chyna on “Matrimony” richly talking about it still being hard to believe they found the plug.

Continuing from there, “Bernadine’s Rage” gives off a soulful boom bap vibe declaring herself to be a goddess just before “Dark Night of Soul” passionately looks to make the moment count for a minute straight & the beat enhances the ambitious mood quite a bit. “Entitled” has this crooning sample encouraging y’all to make your next move the best one, but then “888” hops over some strings as well as kicks & snares talking about being born to shine.

“One of One” goes into spacious boom bap turf breaking down her uniqueness while “Right Back” featuring Ox Omni blends kicks & snares with a climactic orchestral flip talking about sending shots right back where they came from. “Judas Kiss” concludes the LP by admitting she’ll never know if it was all worth it & that even know a few have done their names dirty, the roses are still growing.

The trilogy of EPs we’ve gotten from Chyna throughout the last 6 years have each shown artistic progression in her & From Hell to Chanel brings it full circle to the point where I could argue that it’s her most consistent body of work to date in my personal opinion. She’s grown as a songwriter & 183rd’s production is significantly more fluent than her previous material.

Score: 4/5

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