Monoxide – “The Chainsmoker II” review

Monoxide is a 50 year old MC/producer from Detroit, Michigan getting his start as 1/3 of the House of Krazees alongside The R.O.C. & Jamie Madrox. The latter of whom would join Hektic in signing to Psychopathic Records in late 1997 as Twiztid, becoming the biggest act to emerge out of the label that runs beneath the streets under the Insane Clown Posse’s wing next to Ouija Macc subsequently 2 decades later shortly after MNE & PSY severed ties. Some may not even know Twiztid sporadically wrestled during the early years of Juggalo Championship Wrestling (JCW), later inviting multiple wrestling veterans to their annual Astronomicon pop culture convention since it’s 2018 foundation. Mono was actually the last of the demented duo to go solo, with Chainsmoker turning 20 this fall & Jamie already being established as a solo artist almost 3 decades ago. So with that in mind as well as the 10 year anniversary of Majik Ninja Entertainment’s founding & how much Monoxide has gotten better lyrically as time has gone by, it makes sense to put out a sophomore effort on Leap Day produced by MIKE SUMMERS a.k.a. 7 to hold off until Welcome to Your Funeral produced by Zeuss.

After the intro, “F.A.F.O. (Fuck Around Find Out)” is an eerie trap opener to the album based on that whole entire mentality whereas “Blown Away” works in pianos as well as kicks & snares cautioning that y’all don’t want this smoke. “I See Everybody Dead” gets in his wicked shit bag reminding that no one listened to him about the issues he has & after the “You Said It” skit, “Smoke Train” featuring Blaze Ya Dead Homie & Joe Black of Alla Xul Elu unites the trio for a ghostly ballad dedicated to smoking weed.

“Not Normal” by Twiztid finds Jamie & Mono over vibraphones & hi-hats feeling the abnormalities in their chests but after the “Is That You?” skit, “Anxiety” featuring Boondox & James Garcia or the artist formerly known as Young Wicked is this badass trap metal cut that’ll definitely get the pots going. “Bad Medicine” gives off an ominous trap vibe encouraging to light a doobie & enjoy the ride since life’s too short, but then the rap rock “B.M.A. (Baddest Motherfucker Alive)” by Twiztid featuring G-Mo Skee references WWE Hall of Famer, 2-time WWE Intercontinental Champion & 3-time WWE Tag Team Champion Rikishi.

The House of Krazees get back together for the penultimate track “Night They All Died” which is actually one of my favorite songs that they’ve done with each other in recent memory reminding that the horrorcore trio are still out here over 3 decades later & “Turn the Lights Off” concludes The Chainsmoker II fusing rock with trap talking about wandering for way too long.

Jamie was my favorite of Twiztid up until Monoxide started elevating his pen game in the late 2000s & considering the amount of insane verses he’s been dropping as time goes on, I went into The Chainsmoker II thinking it would be better than the album he put out on Psychopathic almost 20 years ago & that’s exactly what we got. 7’s production is more tighter than the original Chainsmoker, you can hear Hektic’s lyrical evolution & the features from the MNE roster all maintain his level.

Score: 4.5/5

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Baby Ghost – “Free da Yung O.G.” review

Flint, Michigan rapper Baby Ghost hitting us with his 4th EP. Notable for being one of the earliest signings under Rio da Yung O.G.’s independent M.I.N.E. Entertainment, he made his full-length debut in the summer of 2020 with Emotionless & the debut mixtape Cut the Light Off a couple months later. Other than his well praised sophomore effort Gho Krazy & its sequel, he also has a couple EPs under his belt in the Mislead series with a trilogy chapter on the way. We only got Gho Krazy II a few months ago & looks to make the call for his mentor’s freedom even louder.

“3Hunna Blackout” brings the 808s in for Ghost to talk about fanning out those who run up on his block whereas “Wham!” breaks down his lifestyle recalling not hesitating the first time he ever shot somebody. “Fa Fa Fa” has a general Detroit trap sound showing off his gang ties for almost 2 & a half minutes while the title track blends synthesizers & 808s to talk about him wanting Rio home as much as the rest of us do too.

We get some bells & more 808s on “Circle Pink 10’s” warning to keep his name out your mouth unless you want your brother’s head tapped just before “Wyg Gang??” asks to stop advocating for his bitch made opps to be freed & killing someone who tried to slide on him. “Smoking Her Brother” brings the synths back in the fold letting his bitch do whatever because he don’t give a fuck leading into “He Know He Smoked” featuring Homi Michel marked the only collab of the 3 I didn’t care for in my respectful opinion.

“Gang Baby” cautions that you’ll catch a headshot tryna creep up on him while “EBK” featuring Babytron finds the duo trading verses with each other excellently for 102 seconds. “WWI” poses the question of why he should trust you when his big cousin snitched & “Blitz” featuring Babytron ends by finishing what they started on “EBK” except they both share 2 verses each instead of the back-&-forth execution of the previously mentioned collab.

Mislead 2.5 was massively disappointing considering that the first 2 entries of the series are on par with the Gho Krazy saga, but Free da Yung O.G. makes up for the last EP with one that joins Mislead & of course the sequel in being the finest. Aside from both crossovers with Tron making up for “He Know He Smoked”, I love that he dedicated to his mentor similarly to what Peezy did on Free Rio a few years back.

Score: 4/5

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KiD CuDi – “INSANO 2: NITRO MEGA” review

This is the 10th full-length album from Cleveland rapper, singer/songwriter, producer, actor, fashion designer, model, director & filmmaker KiD CuDi. Blowing up in 2008 off his debut mixtape A KiD Named CuDi as well as his songwriting credits on his mentor Kanye West’s 4th album 808s & Heartbreak, his profile from there would increasingly grow off his groundbreaking debut & sophomore albums Man on the Moon: The End of the Day& Man on the Moon II: The Legend of Mr. Rager. But following the self-produced & overlooked Indicud, CuDi would leave G.O.O.D. Music amicably to form his own Republic Records imprint Wicked Awesome Records. Satellite Flight: The Journey to Mother Moon though was mediocre at best & who could forget when CuDi attempted to go alt-rock on the critically panned Speedin’ Bullet 2 Heaven? Luckily he would redeem himself on his next effort Pain & Demon Slayin’in 2016 along with the self-titled album from him & Ye as the duo KIDS SEE GHOSTS couple summers later & even Man on the Moon III: The Chosen the day after my 24th birthday despite it’s blatantly heavy Travis Scott influence. Entergalactic was released to mixed reviews as was INSANO last month, but I enjoyed how both LPs took it back to his roots along with mixing old & new sounds together respectively. So I was excited to hear that INSANO 2: NITRO MEGA would continue the energy of it’s predecessor ahead of it’s deluxe version.

“HUMAN MADE” by WZRD begins with Dot da Genius sampling “1 More Hour” by Tame Impala paying homage to Nigo’s titular streetwear brand that I’m a fan of myself whereas the euphoric “DIAMONDS, LIGHTS, FAST CARS” featuring Wiz Khalifa with BNYX of Working on Dying, Earl on the Beat & Jean Baptiste behind the boards finding the pair linking up talking about how no one has swagger like they do. “WIN OR LOSE” reunites The Almighty GloryUS & they rightfully get into that mood over a Depeche Mode sample leading into “CHUNKY” singing that he feels in his heart that he’s free over a zen-like trap beat.

The electronic dance music influence on “BABE & I” is pretty cool talking about how he feels like a rockstar with his significant other, but then “WILLIS” is easily the worst song on the album as a 4 minute intermission from “2 of the smoothest motherfuckers on the planet” when The Almighty GloryUS come off awkward. “CRASH TEST CUDI” looks to get lost in the night fucking up the world sampling Crash Test Dummies prior to E*vax fusing electronic & boom bap on “EVERYBODY LIKE” featuring Pusha T as both of them drop braggadocio.

Steve Aoki’s remix of “ELECTROWAVEBABY” is cool although I prefer the original while “ANIMATE” by The Almighty GloryUS gives off a cavernous vibe instrumentally reminding that they told y’all the way they do it & significantly much better than “WILLIS” earlier. “ROUND N ROUND” featuring Lil Yachty sensually pays tribute to the ones who make them feel like they were meant to be with while “DOSE OF DOPENESS” by WZRD was originally made in 2007 & was a YouTube exclusive in 2012 up until now. Deservedly so too.

“ROCKET” was made during the sessions of WZRD’s eponymous debut from it’s overall rock sound to the lyrics singing if you’ve ever heard the story of the boy that gathered all his homies to form a strong alliance while the neo-psychedelic/trap crossover “ILL WHAT I BLEED” talks about self-assurance, resilience & staying true to one’s authentic self despite judgments from surrounding people. “ALL MY LIFE” brings the guitars back in effect singing that he’s been searching for more throughout his lifetime while “I JUST WANNA GET” unites The Almighty GloryUS with Bone Thugs-n-Harmony for an out-of-body experience.

The penultimate track “MOON MAN SHIT” hops on top of this bass-rattling trap instrumental from Honorable C.N.O.T.E. so he can get in his Moon Man bag a bit, but “SUPERBOY” finishes up INSANO 2: NITRO MEGA with BNYX & Yachty throwing it back to the Satellite Flight: The Journey to Mother Moon days & KiD CuDi singing about the woman in his life needing serious love even though she does some things too.

CuDi even said himself earlier on in the week that he felt like everyone was going to enjoy NITRO MEGA more than the original album that we got over a month ago & that seems to be the general consensus. He expands on what made INSANO the triumph that it was finally being at a happy place in his life & showcasing how far he’s come in the last 17 years altogether.

Score: 3.5/5

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Decksterror – “Love & Honour” review

This is the debut extended play from London, England, United Kingdom producer Decksterror. Originally known under the moniker G-Man, he would form Hollow Sun Records alongside Cosm in the spring of 2020 a couple weeks after the COVID-19 pandemic began & eventually made his full-length solo debut with Black/Gold Stash a couple years later. However, he has since signed to the Croydon underground imprint Hidden Hobby Records as an in-house producer & is looking to make his debut for the label with Love & Honour.

“Tom Clancy” by C.o.N-Vers starts with a horn-heavy boom bap instrumental portraying himself as an assassin but after Cosm & Hus Kingpin join him on the rap rock-inflicted title track so all 3 of them can talk about holding the aces high even if the stakes have never been any higher, “Invisible Man” by Ash the Author & JabbaThaKut reaches the halfway point speaking of both artists making moves of their own & still running from the men in black.

King Kakarot gets the 2nd half going by landing a track of his own Move Back” talking about the lack of rebelliousness these days when I don’t entirely agree with that since there are artists whose music captures that mentality well while “Running for the Shade” by C.o.N-Vers speaks of living in the good & bad days. “Dark Speed” by Ill Sykes ends the EP talking about being the sum of things to come & letting shells roll of his tongue much like he’s firing an automatic firearm.

Considering that this guy produced the penultimate single from Montener the Menace’s latest album The Miserable Git Next Door & one of my personal favorite tracks on there “Tomorrow’s Never Promised”, it’s not so much of a shocker to hear Decksterror joining Hidden Hobby & his debut for the rising underground imprint has me excited for the sequel he’s already begun working on. His sample-lenient boom bap production created using an MPC solidifies himself amongst the UK’s greatest producers & the briefer guest list is more consistent than Black/Gold Stash’s.

Score: 3.5/5

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Casey Veggies – “Nostalgia” review

Casey Veggies is a 30 year old rapper from Los Angeles, California notable for being a founding member of the now defunct Odd Future collective. He’s also built a tight solo discography for himself including a couple full-lengths, a couple EPs & 8 mixtapes in nearly 2 decades. Standouts include the Customized Greatly series, Sleeping in Class, Life Changes and Live & Grow. That said: I was highly interested in hearing Casey’s 9th mixtape after learning that South Carolina plugg producer Dylvinci was fully on board with it.

The 90 second “Another Lane” sets the tone of the tape from the cloudy trap instrumental to the lyricism boasting that he’s in a different lane compared to these other motherfuckers whereas “Prada Tags” brings that plug sound full circle talking about being young & coming from the bottom. The title track works in more sparse, minimalistic drum & hi-hat patterns, subby 808s & heavy low end, piano samples, airy pads & icy synths discussing the things that make him nostalgic, but then “Won’t She” featuring IAMSU was an ok single despite the mellow beat & subject matter of refusing to go out sad.

“Put the City On” keeps the plugg beats coming representing his hometown of L.A. leading into “Boss Talk” featuring D Smoke takes the cloudy boom bap detailing the boss statuses that both of them have maintained. “Cut Different” goes plugg once more talking about how you ain’t dealing with no scrub & that he ain’t like the rest just before the synth-funk “Phillip Lim” featuring King Chip encourages the shorties to fuck with them.

Dylvinci mixes elements of g-funk, boom bap & trap on “Heavyweight” looking to put a woman who don’t have a man in designer while “No Flaggin’” refuses to stop grindin’ as it instrumentally kinda throws it back to the 80s’ a bit. “Savage” goes for a pluggier vibe talking about what money has done to him while the serenely produced “Either Way” discusses catching Ws regardless although Sean Ev & TTM Dawg’s verses don’t do much for me. “Curtains Closed” ends the tape by glamorously asking what’s up with y’all not getting money.

Even I’ll tell you that it’s been quite some time since I’ve enjoyed a Young Veggies project as somebody who’s been down with him since the OF days & with Nostalgia, it’s the best that he’s sounded in nearly 10 years. It sounds like he’s having fun eagerly seeking to evolve artistically & Dylvinci’s production is better than a lot of Casey’s recent material tightly expanding his sound by dabbling with plugg, trap, boom bap, g-funk & even synth-funk.

Score: 3.5/5

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Krispylife Kidd – “Juice” review

Krispylife Kidd is a 30 year old rapper from Flint, Michigan who’s popularity in the local trap scene has been gradually increasing since 2019 going on to release a total of 13 mixtapes & 3 EPs all in that span of time. Icewear Vezzo even signed him to Iced Up Records during the pandemic & Lil Yachty had him featured on Michigan Boy Boat. Now I’d start with Krispylife 2 & The Art of Spice Talk trilogy if you wanna dive into Krispylife’s music but since Vezzo put out his Quality Control debut Live from the 6 at the beginning of the month, I was interested in hearing that Krispy had released his 4th EP.

The opener “Bam Got Me Stuttering” gets Juice rolling with pianos & hi-hats declaring this to be a mass whoopin’ whereas “1 Time” talks about not having to many friends & the ones he does have stay tweakin’ being on nonsense over a cloudy instrumental. “Trapped Too Much” featuring Clean Up Man finds the 2 getting on their Detroit trap shit & Clean Up Man’s verse doesn’t really do much for me truthfully that is until “Back in the Basement” gets back on track works in bells & hi-hats talking about how he finna do something dangerous.

YSR Gramz’ feature on “Who at the Door?” isn’t any better than the previous guest performance despite the bell-inflicted Detroit trap beat & the idea of doing the shit that some of these dudes be rappin’ & “What You On” instrumentally gives me a Bay Area vibe impressively clapping back at those who can’t beef with him because their money ain’t long. “On the Spiritual Side” however concludes the EP with a slick Detroit trap cut flexing that his Chakra shining.

It can seem kinda corny with the title & artwork paying homage to the iconic 2Pac film of the same name & other artists have done that on previous projects in the past. Case in point: Soulja Boy. But Krispylife been got the Juice when it comes to artists in the local trap scene & continues to keep up with Vez for real. Regardless of not being head over heels for the 2 features, there’s no cappin’ on Krispy’s passionate delivery during the 17 & a half minute experience.

Score: 3.5/5

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EARTHGANG – “EARTHGANG vs. the Algorithm 2: Robophobia” review

Atlanta, Georgia duo the EARTHGANG consisting of Olu & WowGr8 back with their 7th EP. Starting out a little over a decade ago dropping 3 mixtapes along with 2 albums & an EP independently, this resulted in J. Colesigning them to his Interscope Recordsimprint Dreamville Records in 2017. This resulted in a trilogy of EPs leading up to their major label debut Mirrorland, which revealed themselves to be one of the best artists that the label has to offer. They went on to give their Spillage Village collective some shine by dropping their 4th album Spilligion on Dreamville the next year & Ghetto Gods further cemented them as the 2nd best signing on the roster behind J.I.D of course. EARTHGANG vs. the Algorithm: R.I.P. Human Art this past fall Dr. Dot & Johnny Venus severing ties with Interscope to solely stay with Dreamville, but are returning to give insight on EARTHGANG vs. the Algorithm 2: Robophobia about the technological advancements we’ve seen in recent years.

After the intro, “Blacklight” starts off by encouraging one to expose their flaws over a funky instrumental while “Put In Work” featuring Tommy Newport turns the funk up to 11 so both of them can get romantic. The futuristic R&B/pop rap crossover “Osmosis” has be my least favorite track on Robophobia asking if the love’s real in an cumbersome fashion & the warm “Perfect Fantasy” featuring WWE Hall of Famer Snoop Dogg closes the EP asking what’s inside these walls.

The last EP we got from Olu & WowGr8 was a good introduction to the story of the trilogy & the follow-up has to be my favorite chapter thus far. A song or 2 I can do without, but the EARTHGANG still embarks on a sonic dive as they explore new soundscapes & topics on imperfections connections & projections within humanity’s relationship with each other & artificial intelligence.

Score: 3.5/5

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ssgkobe – “HORCRUX” review

Lafayette, Louisiana rapper ssgkobe releasing his 2nd mixtape ahead of the upcoming full-length debut U4. Emerging out of the SoundCloud scene just a few years back, it wasn’t until earlier last spring when he was featured on a bonus track off of BROCKHAMPTON’s ROADRUNNER: NEW LIGHT, NEW MACHINEwhere I was introduced to him. His major label debut albeit 12th EP overall KO. that came out a couple months later wasn’t the best place to start diving into his discography at all, but I was genuinely intrigued by Night Before once I started listening to his earlier work. RELAPSED showed some improvements as did the prequel to U4, so I was interested in hearing the direction HORCRUX was going to take.

After the heavenly “INTRODUCTION”, the first song “KEEPIN’ IT REAL” begins the tape by cooking up a lo-fi trap instrumental flexing that his crew stay giving no fucks whereas “FUKITWATCH” gives off more of a psychedelic approach telling all broke motherfuckers to get their own businesses. “WHAT CAN I SAY” asking for some more lean being going off 3 styrofoam cups of it over an airy beat with hi-hats just before the cloudy “COWARD” talks about those sneak-dissing frontin’ in regards to that life.

“ONLY TIME” hooks up these bare piano chords so ssgkobe addressing someone who doesn’t have to lie to him & try to keep fuckin’ with him while “THROUGH MY MIND” featuring Kaash Paige cavernously talks about the evil thoughts that often pop in both of their heads. “ELLA” actually goes for a rock vibe kinda looking to jump right in & possibly see the Eiffel Tower leading into the warm, melodic “URTHEONE” dedicated to that special woman in his life.

Moving forward with the 2nd half of the tape, “WHEN I TURN” brings in the rage beats boasting that he’s cutting up a check while “C” continues to expand the hypertrap influences breaking down the lifestyle that he’s living catching bodies & dealing with bitches who think they be running game. “1227” talks about having shit to prove over a Godzilla-like instrumental while the cloudy, bombastic “13 GATES” dissing those who think he can’t do what they can do.

“FRIGHT” begins the final moments of HORCRUX by continuing to induce the rage looking to pull up on his opposition in order to leave them all intimidated & “WEHADMET” closes up shop with 1 final psychedelically, melodic joint running at nearly 2 & a half minutes talking about making the relationship with his current partner work.

Admittedly, Willows was an underwhelming note to leave off on last summer & HORCRUX happens to be a good step on the right direction for ssgkobe since it’s a better way for him to hold off his audience until he decides it’s time for the debut album. The elements of rage, pop rap & trap from some of his latest material in recent years make their way back over here flowing solidly as I hope U4 will help him come fully into his own.

Score: 3.5/5

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Erick the Architect – “I’ve Never Been Here Before” review

Erick the Architect is a 35 year old rapper, singer/songwriter & producer from Brooklyn, New York notable for being 1/3 of the trio Flatbush ZOMBiES as well as 1/5 of the supergroup Clockwork Indigo & a member of the Beast Coast collective. He also has an EP & 3 mixtapes worth of solo material as well as a couple beat tapes, but is now the 3rd & final person at bat for a full-length solo debut from the ZOMBiES.

After the “I’m Still” intro, the first song “2-3 Zone” introduces us to the album with an uncannily psychedelic instrumental from James Blake boasting that he’s sitting on $1M while “Parkour”is a synth-trap fusion rapping about doing everything candidly. “Breaking Point” is a straight up R&B track addressing a type of love that doesn’t feel the same anymore, but then “Mandevillain” hops over this summery boom beat reminding that this ain’t luck.

“Ezekiel’s Wheel” shoots for a groovier vibe acknowledging that everyone’s keeping secrets for oilin’ & their good intentions giving through to severance until the smoothly self-produced “Jammy Jam” admits to not knowing what’s wrong with his ex-girlfriend. “Ambrosia” makes no time for bullshit as he’s never been a bozo pulling inspiration from J Dilla instrumentally just before the funky “Shook Up” featuring Joey Bada$$ refuses to deny burden of proof.

Unfortunately, “Beef Patty” featuring Boy Boy might be my least favorite track on the LP since it’s an awkward attempt at going dancehall while “Colette” makes up for it by bringing an eerie trap flare thanks to T-Minus talking about hoes still asking questions & motherfuckers acting like the feds. “Instincts” featuring Westside Boogie shows gratitude for still being here with Chris Keys going for a cloudier sound while the groovy “Neue Muse” talks about having a new person acting as a source of inspiration to him.

“Leukemia / AM” is this heartfelt 2-parter forced to find fortune in the midst of suffering many losses while “Too Much Talkin’” hops over synthesizers & hi-hats telling y’all exactly how it is whenever Erick has to fallback. “Liberate” concludes the first run of Flatbush ZOMBiES solo albums by melodically teaming with Lalah Hathaway as they address themes of romance having to slow things down.

Now that all the ZOMBiES have their own solo LPs out, I’ve Never Been Here Before could be the most risk-taking of them all. The themes of fearlessness, Black resilience, beauty in darkness & unity all come from authentic place mixed with production that’s significantly more versatile than both Gothic Luxury & Love Without Condition by ranging from hip hop to soul, dub & psychedelia.

Score: 3.5/5

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Uncle Murda – “Lenny Grant Story” review

This is the 17th mixtape from New York emcee Uncle Murda. Being in the game for nearly 2 decades, he briefly signed to Roc-A-Fella Records/Def Jam Recordings in the mid/late 2000s but has since made himself home over at G-Unit Records for the past 8 years & doing his own take of the Rap Up series a decade ago inspired by Skillz. I can’t say I have a favorite tape of his since they’re pretty much moderately received, but the buildup to Lenny Grant Story got the best of me.

“If I Die” starts off with piano chords & hi-hats explaining that one of his opps is coming with him if he were to pass away whereas “The Projects” featuring Conway the Machine has a jazzy drill vibe talking about the trenches of their home state. “They Said” featuring Symba shifts back into trap territory telling y’all to look at them now leading into the soul/drill crossover “I’m Ok With That” talking about making his son into a king & fulfilling his promise.

Jadakiss accompanies Murda on the atmospheric “Money” dropping braggadocio just before cavernously hazy “No Safety” featuring Benny the Butcher acknowledges that it’s safe to say that ties have been cut. “10 Toes Down” has a spacious quality to the instrumental tackling themes of commitment, but then “Spin the Block” featuring Styles P & 50 Cent finds the trio looking to simply that on top of a ghoulish vocal sample.

“Grimey” weaves a rich boom bap beat in the fold reflecting on the welfare days while the song “Ride Out” featuring Peezy is an acoustic trap cut clearing out any place their opposition is at. The penultimate track “I Changed” soulfully breaks down how he’s become a different person as he’s gotten older & “2 Hurt 2 Cry” rounds out the tape in an upbeat fashion explaining they reason you don’t see no tears from him.

Once again: I’m not big on Uncle Murda’s previous material & I’ve heard numerous features from him across a multitude of projects over the years that I’ve actually enjoyed. Surprisingly, I was impressed to come away from Lenny Grant Story liking it more than I initially thought I would’ve. I’ll even say it’s the best thing he’s done ever since 50 signed him in the first place. The guest-list is impressive, Murda himself sounds concentrated & the production represents both past & present sounds of the New York hip hop scene.

Score: 3.5/5

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