London, England, United Kingdom emcee Kemastry breaking out solo with a whole entire EP locking in with one of the UK hip hop movement’s most decorated DJs/producers DJ Jazz T to handle the beats. Notable for being 1/3 of the trio CMPND alongside Vitamin G & Wundrop, they would make their debut under High Focus Records in the fall of 2019 with Eagle Court & most recently made a sequel with the sophomore effort Long Live the Court through the Hove, East Sussex imprint. Kemastry however has opted to crack open A Delusional Guide for the Disillusioned by having the founder of Boot Records producing it for his label.
After the compositional “Mind Control” intro, the first song “Delusional” begins with this old school boom bap instrumental talking about being stick up in this rat race from the sun whereas “Apocalyptic Flows” featuring Ramson Badbonez contains the strongest guest appearance of the 2 linking with Kemastry over pianos mixed with kicks & snares spittin’ deadly cadences of their own. “Hamster Wheel” featuring Roughneck Jihad has a cloudier, almost jazzier boom bap vibe to it having no one to trust & “Stay Grounded” smoothly ends by giving that very advice.
Countering the scathing observations & multi-syllables Wundrop & Vitamin G have respectively become known for with his surreal unpredictability, Kemastry elevates that to a whole new level providing A Delusional Guide for the Disillusioned to begin carving a path for himself individually. DJ Jazz T’s boom bap production pared with the CMPND member’s signature approach to songwriting with only a couple features joining him for roughly 15 & a half minutes isn’t a bad way for him to establish himself on his own & has me anticipating where he’ll go from here.
Sèvres, Paris, France emcee Booba has returned with the 11th full-length LP in his discography. Coming up 1/2 of the duo Lunatic with Ali after starting as a b-boy, they would go on to release a critically acclaimed debut Mauvais Œil & a moderately received sophomore effort Black Album until disbanding. Booba’s solo debut Temps Mort much like Mauvais Œil considered to be a landmark in the French hip hop scene, with Panthéon & Ouest Side also being positively received. 0.9 & Lunatic wound up getting mixed reactions until returning to form on the next few albums Futur, D.U.C, Nero Nemesis & Trône. Ultra has gone on to be considered by many to be the Tallac Records founder’s worst full-length outing yet, so I went into AD VITAM ÆTERNAM hoping it would be the most I’ve enjoyed something from him in 7 years.
Sèvres, Paris, France maître de cérémonie Booba est de retour avec le 11e album de sa discographie. Faisant partie de la moitié du duo Lunatic avec Ali après avoir débuté en tant que b-boy, ils sortiront ensuite un premier album acclamé par la critique, Mauvais Œil, et un deuxième effort moyennement reçu, Black Album, jusqu’à leur dissolution. Le premier album solo de Booba, Temps Mort, tout comme Mauvais Œil, est considéré comme une référence sur la scène hip hop française, Panthéon & Ouest Side étant également accueillis positivement. 0.9 & Lunatic ont fini par susciter des réactions mitigées jusqu’à revenir en forme sur les prochains albums Futur, D.U.C, Nero Nemesis & Trône. Ultra est considéré par beaucoup comme le pire album du fondateur de Tallac Records à ce jour, alors je suis entré dans AD VITAM ÆTERNAM en espérant que ce serait le plus que j’apprécierais quelque chose de lui en 7 ans.
“Rebel” starts the album by talking about how everything goes through force & that we’re acquired by right on top of a murky trap instrumental whereas “Saga” switches gears into this pop rap ballad boasting that he’s always surrounded by models & the world is his. “Dolce Camara” featuring SDM finds the pair describing their handsomeness on top of synth-horns & hi-hats prior to the underwhelming trap single “Sport Billy” telling us where he hid the weapon bag.
« Rebel » commence l’album en parlant de la façon dont tout passe par la force et par laquelle nous sommes acquis juste au-dessus d’un instrument de trap sombre tandis que « Saga” passe à la vitesse supérieure dans cette ballade pop rap vantant qu’il est toujours entouré de modèles et que le monde est son. « Dolce Camara » avec SDM trouve le duo décrivant leur beauté au-dessus de synthés et de charleys avant le single trap décevant « Sport Billy » nous disant où il a caché le sac d’armes.
Concluding the first half of the album, the lead single “Signé” isn’t any better unfortunately fusing pop rap with afro trap & funk brasileiro explaining that he’s always been told to go elsewhere since he wasn’t awarded as a shooter leading into one of the better cuts “6G” being a decent continuation of the series of songs that began on D.U.C nearly a decade ago. “G.M. (Gyèt Manmanw)” featuring Evil P & Gato is this cringey trap cut dedicated to not having girlfriends since they only knowing big sluts, but then “Abidal” featuring Sicario talks about being in the flagship waiting for the signal giving off more of a generically dark trap vibe.
En conclusion de la première moitié de l’album, le premier single « Signé » n’est pas meilleur malheureusement fusionnant pop rap avec afro trap & funk brasileiro expliquant qu’on lui a toujours dit d’aller ailleurs puisqu’il n’a pas été récompensé en tant que shooter menant à l’un des meilleurs morceaux « 6G » être un continuation décente de la série de chansons qui a commencé sur D.U.C il y a près de dix ans. « G.M. (Gyèt Manmanw) » avec Evil P & Gato est ce fastidieux coupure piège dédié au fait de ne pas avoir de copines puisqu’elles ne connaissent que de grosses salopes, mais ensuite « Abidal » avec Sicario parle d’être dans le vaisseau amiral en attendant le signal dégageant davantage une ambiance de piège génériquement sombre.
“Bénigni” nears the encore of the LP by making Booba feel like a featured artist on his own album since USKY takes up a majority of it as they both ride alone in the city feeling inhabited over these piano chords that is until “C.V.B.S.P. (Ça Va Bientôt Casser)” concludes AD VITAM ÆTERNAM with this twinkling drill track admitting that it’s all inevitably gonna break soon & asking why he should wait as a result of that.
« Bénigni » s’approche le fin du LP en faisant sentir Booba comme un artiste invité sur son propre album puisque l’USKY en reprend la majorité alors qu’ils roulent tous les deux seuls dans la ville en se sentant habités sur ces accords de piano jusqu’à ce que « C.V.B.S.P. (Ça Va Bientôt Casser) » conclut AD VITAM ÆTERNAM avec ce morceau de forage scintillant admettant que tout va inévitablement bientôt casser et se demandant pourquoi il devrait attendre à cause de cela.
It’s blatantly obviously to say Booba won’t make another album like Temps Mort ever again although he came close to reaching that caliber a couple times on Ouest Side & Nero Nemesis, but wow it’s very unfortunate that AD VITAM ÆTERNAM was even a step below of the album that he gave us almost 3 years ago. Although I fully understand that he intentionally made it less than a half hour long due to the constraints of streaming, it just feels rushed ultimately.
C’est évident de dire que Booba ne fera plus jamais un album comme Temps Mort même s’il a failli atteindre ce calibre à plusieurs reprises sur Ouest Side et Nero Nemesis, mais wow c’est vraiment dommage que AD VITAM ÆTERNAM soit même un cran en dessous de l’album qu’il nous avait offert il y a presque 3 ans. Bien que je comprenne parfaitement qu’il l’a intentionnellement fait moins d’une demi-heure en raison des contraintes du streaming, cela semble précipité finalement.
B.A.R.S. is an underground quartet consisting of V Sinizter, Zitro, Tierre Diaz & Clifton Derrell. One of whom is a Saginaw, Michigan native releasing his debut EP Hunting Season in 2003 under Psychopathic Records, Zitro is one of the newest members of the hatchet family coming straight outta Detroit, Tierre hails from Boston, Massachusetts coming fresh off signing to DJ Clay’s very own Armed Robbery Entertainment last summer & finally Clifton represents the Windy City of Chicago, Illinois as an overly smart punk who experienced his first electric moment when Eric B. & Rakim’s rhythm hit him. So considering their histories intertwining with juggalo culture, it only makes sense for all 4 emcees to form a supergroup & introduce themselves as a unit on their debut EP.
The title track is an incredibly rugged opener talking about everyone watching them with all hands on deck whereas the rowdy “On Sight” sets out to start riots in every club they hit up. “The Pinnacle” begins the 2nd leg of the EP by giving off a bit of a futuristic vibe instrumentally boasting that they’re in demand & ready to bring the pain, but then “Top No More” rounds things out by calling out those who’re envious of seeing the 4 on top over these guitar licks & hi-hats.
Anyone who considers themselves to be a fan of any or all 4 of the members of B.A.R.S. has to check out their eponymous debut EP together here & it makes me anticipate hearing what the underground supergroup has coming down the pipe from hereon out. The production gives off a different vibe for everyone & although everyone has stood out in their own ways previously, hearing them together is another level.
London, England, United Kingdom emcee, singer & actress Little Simz returning with her 10th EP & the 7th installment of the Age 101: Drop series. Getting her start at the beginning of the previous decade, she would go on to drop 4 mixtapes along with her 9 previous EPs & 5 full-lengths LPs. GREY Area showed some serious artistic evolution, S.I.M.B.I. (Sometimes I Might Be Introvert) wound up being my 2021 Album of the Year after giving it a perfect 10 & No Thank You was a late AOTY contender in the following winter. However after 4 years, Simz is returning to put out a successor to Drop 6.
“Mood Swings” starts things off dabbling with hip house a bit talking about her mood abruptly changing on the regular whereas “Fever” tells the story of being in São Paulo, Brazil with her friend over a more tribal beat. “Torch” gives off a glitchy EDM trap vibe a bit advising not to be afraid of the bounce & that she’s trying to be the force but after the 3-minute instrumental cut “SOS”, we have Simz explaining that “they gon’ have to give me more of your soul when I’m needin’” over cloudy trap production. “Power” gives us off-the-top verse for nearly a minute as it sonically gives me a bit of a misty vibe & “Far Away” ends the EP with a jazzy UK drill fusion singing for her lover not to wait around for her.
Little Simz is by far my favorite UK artist in recent memory since S.I.M.B.I. (Sometimes I Might Be Introvert) is one of the best albums of this decade & No Thank You was near-flawless in it’s own right, but this has to be amongst the best installments of the Age 101: Drop EP series in my opinion. She’s demonstrating her range as an artist by rapping AND showing her singing voice as the overall sound here draws from electronic dance music, funk mandelão & of course grime.
London, England, United Kingdom wordsmith Confucius MC teaming up with Dublin, Ireland producer Pitch 92 for his 3rd studio LP. Known for being 1/2 of the Old Paradice and CoN & KwAkE, he introduced himself in 2014 off his full-length debut The Highest Form followed by The Artform a few years later & the sophomore effort Somewhere another few years after that. Familiarizing myself with him through his features throughout several High Focus Records projects over the years, it only makes sense to have one of the label’s in-house producers coming in the picture for Stop Signs.
After the “Leisure Time” intro, “Maintenance” begins with a funky beat advising to slow down whereas “Paper Champs” takes the boom bap route instrumentally seeking truth in an ocean of lies. “Missing Persons” brings the funk back with a slicker twist to it talking about someone disappearing every 2 minutes leading into “Raised by Wolves” featuring Renelle 893 links up so both of them can discuss their own upbringings.
“Loneliness in the City” has a somberness to the beat describing this epidemic around his parts & after an intermission, “Cognitive Behavior” featuring King Kashmere finds the 2 talking about being tired of the games. “Days Hours Minutes” featuring the latter’s Kingdom of Fear partner-in-rhyme Jehst speaks of time forever flying past us while “Burden” soulfully talks about not letting anything take a load on you.
Nearing the conclusion of Stop Signs, the song “Blue Skies” hops over a lo-fi boom bap l instrumental that sounds like it could’ve appeared during a bumper on the Discovery Global owned Cartoon Network late-night block [adult swim] asking for his spirits for them to tell him to read the signs & “Respite” concludes the EP with a 77 second outro structured similarly to “Leisure Time” the moment anyone giving this a spin would hear right when they press play.
The Highest Form still has it’s moments a decade later, but I truly think Stop Signs might’ve surpassed it although I’m not sure why Confucius MC didn’t have High Focus Records distribute it because it very much sounds like something that would’ve come out of the renown Hove, East Sussex imprint. Pitch 92’s jazzy production is a huge step above Somewhere carrying the torch of Jaylib’s spirit further & Confucius’ poetic lyricism is at it’s most conscious, joined by a couple of artists on the current High Focus roster & none other than the YNR Productions founder himself.
Easily one of the biggest names in the Detroit trap scene today & Iced Up Records founder Icewear Vezzo finally releasing his Quality Control Music debut album although the 4th full-length overall in his discography. For over a decade now, this dude has been making waves locally by releasing the Rich Off Pints trilogy of LPs & over a dozen mixtapes. The previous Paint the City hosted by DJ Drama over a year ago being Vezzo’s first project to come out though the Motown Records imprint & it was a solid prelude, so it definitely increased anticipation for his major label debut Live from the 6.
After the intro skit, the first song “Class of 2024” starts off with some synthesizers & hi-hats so Vezzo can remind us all that he inventing sippin’ mud despite the fact that he’s clean these days whereas the atmospheric “Projects” flexes that he’s a multi-millionaire in the trenches. “Perfect” featuring DaBaby is anything but since the latter’s appearance might be the weakest on the album although I do appreciate the luxurious instrumental & Vez’ braggadocio, but then “Rap Game takes the soulful Detroit trap route celebrating like a parade goin’ down.
“Momma Mil” goes for a darker approach to the vibes of the previous cut minus the soul sample making it clear that his mother didn’t raise no hoes & the “Motion” remix featuring Babyface Ray is superior to the original boasting that that’s exactly what they got over a synth-based Detroit trap beat. “Ain’t Enough” gives off an eerier atmosphere explaining that he needs $2M since $1M isn’t enough just before “Come Outside” featuring YTB Fatt is another underwhelming collab although the message of people dying out here in the D is accurate.
Picking things back up, “I Ain’t Mad at Ya” fuses cloud rap & Detroit trap addressing all the “fuck n****s” out there leading into “Chose Me” featuring Chuckie CEO talking about choosing himself over a ghoulish instrumental & Chuckie punching under his weight. Beginning the encore of the album however, “Different Day” almost has this pluckier tone to the beat talking about the concept of “same shit, different day” & “I’m the One” closes Live from the 6 with this futuristic trap banger talking about being him.
Vezzo’s verse on the “Detroit vs. Everybody” remix made me a fan of his when it came out on my 18th birthday & this major label debut similar to Paint the City continues to show improvement in Vezzo. Yeah the features are kinda underwhelming for the majority of it, but it’s more well-produced than some of his previous material & I admire that he pays homage to 6 Mile as a fellow Motor City native myself.
Detroit emcee Mvck Nyce of the Umbrella collective picking up where the predecessor left off almost 11 months ago with his sophomore LP. Emerging in 2018 off the full-length debut InMyDarkestHour, he has since continued to turn heads by continuing to release a couple EPs Supernyce & Lord Be Whit Me along with the Circa ‘16 compilation more recently as the 1-year anniversary of that approaches next month to be exact. I was also anticipating Nyce to Meet You considering some of Mvck’s recent features for Bizarre of prior D12 fame, Dango Forlaine or even his Umbrella brethren Mickey Diamond, Substance810 & Snotty.
“Master” is a morbid boom bap opener calling anyone to try to master his style whereas “Hockeytown” explains that this the type of shit that gets motherfuckers icy over a rugged instrumental. “Ghetto Gold” works in more kicks & snares with this eerie backdrop boasting that these try-hards can’t even fuck with him or his set leading into “Professionals” going for a solemn boom bap vibe grinding all night long until the sun comes up & calling out those sounding unconfident in their raps.
The aptly titled “Hound Flow” has a mellower sound admitting that he’s feeling like he’s back just before “Fully Automatic” brings the kicks & snares back in the picture talking about getting with it or getting lost at the end of the day. “Yesterday” flips a gospel sample confessing he doesn’t know where to go even though he did his thing & made his lane, but then the instrumentally dejecting “Cups & Carats” talks about how many want to calm him down.
“Dirty” begins the encore of the album by telling y’all to shut the fuck up & sit the fuck back over a dusty ass beat while the jazzy “Gotham Nights” talking about the fact that everybody tryna be a hero. The eerie boom bap closer “Me Against the World” properly sends off Nyce to Meet You with one of the best songs I’ve ever heard from him passionately rapping that he let his demons out in broad day hoping that it would work.
Considering the 7 year gap between Nyce to Meet You & InMyDarkestHour along with the feature performances that I had mentioned at the beginning, I was highly anticipating to hear how much the Nycest of the Umbrella collective has grown since then & he definitely didn’t pull any stops on that at all here. Unlike that previous compilation, we have a more well thought-out & linear reintroduction from the Detroit emcee to the public eye altogether.
Detroit emcee Valid coming off Bill & Isiah’s self-titled debut from last spring with his debut mixtape. Introducing himself properly in 2015 with Reach High, he would follow it up in 2019 getting more personal on the sophomore effort Mihajlo which I personally would recommend to anyone as the best place to start for anyone who wants to get up on Valid’s music & eventually the Plum Brandy EP only 9 months later. However after teasing The Bronko Tape recently in the form of a couple singles, now is the time for Valid to return for the first solo project of his in nearly 4 years.
“Big Bronko” has this mobster-like sample from Pig Pen so Valid can liken himself to Bronko Lubich who competed in the Billy Corgan owned National Wrestling Alliance (NWA), the Hart family-owned Stampede Wrestling, the WWE Hall of Famers Von Erich family-owned WCCW, the Crockett family-owned JCP & WWE Hall of Famer Verne Gagne-owned AWA from the early 50s to the early 70s whereas “Frozen Over Twice” works in this accordion flip from Middle Finger Music in-house producer Peace of Mind with DJ Los on the turntables talking about being known for doing the impossible. “Fever” goes into a silkier direction explaining everything’s been the same just before “Prayer for the Players” featuring Big Herk & Fat Ray finds the trio over a soulful boom bap instrumental from Simple Cuts spitting gospel for the gangstas.
Nearing the end of the first half of the tape “Let It Bang” featuring Asaka the Renegade talking about how heartless these hoes can be & Nick Speed paying tribute to the greatest Texas hip hop duo of all-time UGK behind the boards leading into the “Cyclone” featuring & produced by Ilajide formerly of the Clear Soul Forces going for a funky trap vibe looking to stir up shit similar to a storm or system of winds rotating inward to an area of low atmospheric pressure. Bill & Isiah link back up with the help of S.A.G.E. for “Dark Road” asking how you like them know over pianos & hi-hats, but then “Always Be Me” stays true to himself referencing 2-time WWE Hall of Famer, former 5-time WWE world champion, 11-time WWE tag team champion, WWE Intercontinental Champion & TNA World Tag Team Champion Kevin Nash over a boom bap beat.
“Do You Remember” blends a soul sample with kicks & snares describing a romantic interest who he viewed as an angel while “Forever & a Day” assures to tell him all your insecurities for him to embrace” over a luxurious boom bap instrumental. “Hell of a Love” draws near the end of the tape by really digging in the crates with it’s vintage sampling helping this woman with her self-esteem & the jazzy “Random Thoughts” rounds everything out by making a whole song around the fact that he & Tony Rizzo could talk about anything in the lab with.
Like I mentioned: This was the first solo project that Valid has put out in damn near 4 years since it’s anniversary is next Wednesday & much like the last full-length we got from him which will already be turning 5 this spring, The Bronko Tape is most certainly a step above Plum Brandy when he put it out literally before everyone’s lives changed forever. Don’t get me wrong: Plum Brandy was a fresh showcasing of his Serbian roots, but I like the production here better & the homages to Bronko Lubich as a wrestling fan myself.
Maryland emcee/producer K.A.A.N. reuniting with Aftermath Entertainment in-house producer Dem Jointz for his 24th full-length studio LP. a name for himself in the underground over the course of the past decade by delivering standouts in his ever-growing discography like Black Blood, the Ski Beatz-produced Requiem for a Dream Deferred & the Big Ghost Ltd.-produced All Praise is Due, Mission Hillz or recently The Death of a Rapper & The Nightly News both produced by former Strange Music in-house producer MIKE SUMMERS a.k.a. 7. But after being teasing Peace of Minds since September, it’s only right for the Maryland lyricist & the Compton producer to link back up to start the 2nd month of the new year.
After the “Wake Up” intro, the first song “Corner Store” is a 2-part trap opener talking about how they wanna see him fall whereas “A.S.C. (Ain’t Shit Changed)” keeps the hi-hats in tact making it known that things are still the same with him. “Living n Fear” has a groovier vibe to it explaining that his whole house on fire prior to “Destination” shifts into boom bap territory talking about what you get when you follow false prophets.
“Dying Breed” goes into a drumless direction likening himself to a group of people that’re slowly fading away as time goes on leading into “Hurry” bringing the kicks & snares back into the picture manically getting in his hardcore bag lyrically. “Basque” is an organ boom bap hybrid produced by Black Milk asking what the fuck he’s gotta do to prove who’s who, but then “Prize” aims to keep his eyes on the finish line over more trap production.
To start the 2nd half of the album, “Designer Drug” goes into a psychedelic direction admitting that he went down the rabbit hole for all the wrong reasons just before the atmospheric “Smoking Section” slides through for an anthem dedicated to the smokers out there. “F.Y.F. (Fuck Yo Feelings) says it all conceptually over a dusty instrumental while the rock-inspired “Past That” talks about moving on from the bullshit.
“Footsteps of Greatness” begins the encore of the LP by speaking from experience on top of an unsettling & lastly, “Katch Up” closes out Peace of Mind by hooking up this delicate back drop with some hi-hats thanks to fellow Aftermath in-house producer Focus… so K.A.A.N. can get into his shit-talking bag 1 last time talking about all the ways that people be envying him ever since his career took off really.
Mission Hillz was more trap-based unlike both Black Blood & Pure Intentions, so it doesn’t really surprise me to hear that Peace of Mind continues to expand on the sounds of the previous LP that K.A.A.N. & Dem Jointz did with one another. The latter’s production continues to show progression over the last 7 years of working together dabbling with psychedelia, boom bap, drumless & a hint of rock suiting the Maryland emcee’s potent topics.
This is the sophomore full-length solo LP from New Orleans, Louisiana rapper, producer & deejay $crim. Coming up as 1/2 of the $uicideboy$, the duo has been impeccably consistent since their formation over a decade ago & Wetto here was actually the first one to branch out on his own by dropping the solo debut A Man Rose to the Dead during the COVID-19 pandemic to mixed to negative reception including from myself. However since Ruby da Cherry’s been grinding with a couple of skate punk EPs since last summer, it’s only right for Budd Dwyer to introduce us to the Lonely Boy.
“destination: home” is a cloudy trap opener co-produced by G*59 Record$ in-house producer Dynox encouraging to dream on whereas “a boy whistling in the graveyard” displays a more melodic delivery over an atmospheric instrumental with some hi-hats hoping that he gets right. “maserati slick” shows off the new whip that he just copped accompanied by a psychedelic trap beat leading into “who saves the savior?” asking who could love what he’s become going for a Memphis-influenced sound this time.
Meanwhile, “night gallery” continues forward by working in this vast instrumental keeping the hi-hats into the fold just before “demo demon” looks to pull up on his opposition. The synth-heavy title track goes into territory addressing the loneliness that he feels, but then the meditative “don’t know why” rides around town so fucked up to the point where he can’t even see
“blam!” experiments with rage beats talking about unloading the chopper on anyone who goes against his set prior to “4muhslime #freethug” paying tribute to Young Thug & the beat giving off a solemn vibe. “devil’s revenge using god’s subjects” sets out blow all these racks with a bitch blowing his high shooting for a moodier aesthetic while “i just hope that my death makes more cents than my life” delves into hypertrap turf flexing that his money keeps going up.
Starting the 2nd leg, “new glock 4 my opps” continues to blend buzzing synths with repetitive chord progressions & melodic synth leads looking to make the block hot while “1st things first” admits that he doesn’t go outside much although everyone should pray whenever he does returning to a relaxed, dream-like & reverb-heavy production style. “north pontchartrain blues” suggests to come spend the night & never leave him over a slick trap instrumental while the bass-heavy lead single “paradise” describes his ideal place.
“just because you’re paranoid doesn’t mean you’re wrong” atmospherically laces $crim’s feelings with drugs clarifying he can’t help but go when they call him while “a man touched the sky” talks about refusing to take any chances over another trillwave beat. “all graves go unvisited in the end” dejectedly confesses to people betraying him when he never thought they would while “nightmare on the northside 2” is a worthy sequel to a highlight off A Man Rose from the Dead.
Moving on to the final quarter of the LP, “chrome cowboy” looks to do whatever it takes to keep catching those Ws trying to give off a vibrant approach generally while the rage-inducing “die4me” asks if anyone’s loyal to him. “1-800-PAIN” is cloudy a reminder that shit ain’t sweet when you look in his eyes while the trippy “marlboro country” talks about a whole new vibe he’s been on. The angelic/trap crossover “a nice place to visit” heads back west & lastly, “levitate” ends Lonely Boy on an upbeat note riding & dying by his shawty.
Granted it kinda seems like $crim heard Destroy Lonely’s last album If Looks Could Kill since it was also 26 tracks & nearly 90 minutes long when we first got it last spring, yet Lonely Boy still shows significant improvements over A Man Rose from the Dead. It’s refreshing to hear Budd experimenting with new sounds & his performances actually sound invigorated as opposed to being monotonously boring on the predecessor.
Legends Will Never Die 