Tha God Fahim – “Supreme Dump Legend: Soul Cook Saga” review

Tha Dump Gawd himself Tha God Fahim from Atlanta, Georgia beginning the 2nd month of 2024 by linking up with Cookin’ Soul for the 21st full-length LP in his ever-growing discography. Starting as an affiliate of Griselda Records as well as being 1/3 of the Dump Gawds alongside Mach-Hommy & Your Old Droog, we also can’t ignore the massive discography that he’s managed to build for himself, some of the standouts include Breaking Through tha Van Allen Belts & Dump Assassins. But dude has been on a CRAZY ass EP run in 2023 with the standouts being the Camoflauge Monk-produced Dark Shogunn Assassin, the Nature Sounds-backed Iron Bull & the Nicholas Craven-produced Dump Gawd: Shot Clock King 4, the Oh No-produced Berserko, Fahim’s last EP Dump Gawd: Rhyme Pays produced by Mike Shabb & even the previous album Tha Supreme Hoarder of All Pristine Wealth. So hearing that Big Size would be behind the boards to begin the Soul Cook Saga of the Supreme Dump Legend series, I was certain it had to be the best body of worked they’ve ever produced for another MC.

After the intro, the first song “Blood Sport” starts things off with this cinematic boom bap instrumental likening himself & his squad to champions whereas “Get Ur Weight Up” takes a more lo-fi route working in thee kicks & snares so tha Dump Gawd speaking on some advice that was given to him. “Economics” featuring The Musalini who signed to Jamla Records last year talks about turning rhymes into heavy cash over a boom bap beat with this infectious sample, but then “Guillotine” hooking up more kicks & snares with this psychedelic backdrop referencing 10-time WWE world champion, 2-time WWE Intercontinental Champion, 5-time WWE Tag Team Champion, United Football League (UFL) co-owner, the newest member of the Endeavor-owned TKO Group Holdings’ board of directors & $7 Productions co-founder The Rock whose daughter Ava is now the GM for WWE’s developmental NXT brand.

“Shark Biting Vampires” featuring Dano makes it clear that they don’t want anyone sounding like them on top of some woodwinds & just before “Heavy” featuring Raz Fresco makes up for Dano’s guest appearance on the previous cut which might be the weakest feature on the album. Here though, Raz & Fahim discusses the heaviness of words sometimes over this spacious boom bap instrumental. “Pedal to the Floor” kinda gives me a bluesier vibe making it clear he ain’t new to this leading into the dusty “Safe Hands” looking to make other rappers look bad. The orchestral sendoff “The Way of the Samurai” lastly portrays another day in the Shogunn saga.

Breadrick Douglas is said to be have Dump Goat II, 3 more projects with Monk, 3 with Craven, another one with Cookin’ Soul presumably titled Supreme Dump Legend: Soul Cook Saga 2 & a self-produced one all coming down the pipe in the future & Supreme Dump Legend: Soul Cook Saga. Cookin’ Soul’s boom bap production is consistent top to bottom, I enjoyed nearly every feature & Fahim indeed cementing himself as the strongest performer Size has worked with on a full project to date.

Score: 4.5/5

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Sly Moon – “No Gamble, No Future” review

London, England, United Kingdom emcee/producer Sly Moon ending January with his 4th EP. A member of the Children of the Damned as well as its successor the Cult of the Damned & the Sohio Players, he made his full-length debut in 2020 with Why Am I So Sly? under Blah Records followed by the Lee Scott collab effort F.D.M.B. (Flippin’ Dough Makin’ Bread) & Banned From the Vic. The last extended play of his The Ghost of Ungar came out a year earlier & is taking a more conceptual approach to No Gamble, No Future.

After the “I’m a Compulsive Gambler” intro, the self-produced “I Don’t Know” starts with this soulful boom bap opener talking about being blinded after keeping his eyes on the prize whereas “Aces Baby” produced by Lee Scott instrumentally discussing him grinding night & day playing with higher stakes. “Tears of Joy” goes for a jazzier yet funkier vibe talking about being lonely at the top loving the view while “Back Door Key” boasts of his money speaking loudly.

“The Dream’s Over” continues the 2nd half of No Gamble, No Future with everything crashing down on our protagonist running into the wall of the house after trying to take it down over this crooning beat & after the “Spinnin’ Out” skit, “Casino Chippin’” ends the EP hopping over a boom bap beat with some strings talking about another chapter in the rat race running backwards amongst the gamblers watching people become rich only to steal food from children’s mouths.

We’ve heard a significant amount of growth from Sly Moon with every EP he’s given us since Why Am I So Sly? & the progression continues throughout No Gamble, No Future. He chronicles of the ups & downs of an addicted gambler beginning in the red & grinds his way into the green, only to go all the way back to Square 1 in a never-ending cycle that anyone who has or had a gambling addiction can relate to though it’s never been my thing personally.

Score: 4/5

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King Kashmere – “Sounds Like Home” review

This is the 4th EP from London, England, United Kingdom emcee/producer King Kashmere. Notable for being a part of several groups or duos over the last few decades ranging from Kingdom of Fear & Invisible Inc. to Gawd Status as well as Old Children & Strange U, he also has 7 full-length solo albums & a couple of extended plays under his belt through the likes of Low Life Records to YNR Productions & Boot Records. Making his debut for High Focus Records in 2016 off his 3rd album Woof, he returned to the label with TR3B & has brought Cuth in to fully produce Sounds Like Home coming off The Album to End All Alien Abductions.

“Change Your Energy” soulfully starts off talking about everyone having their own universe within ourselves whereas “Thick Bag of Slime” featuring Alecs DeLarge goes for a psychedelic boom bap vibe to speak of striving & getting little in return. The title track soulfully while talks about keeping it real when others pretend while “Door of Truth” grittily asks if one can afford losing the game of life. After the compositional “Places” intermission, the final song “Valhalla” wraps up Sounds Like Home crushingly remembering his brother Tom.

I’d have to put The Album to End All Alien Abductions & TR3B above Sounds Like Home, but I’m nevertheless grateful King Kashmere was able to give us a 6 track EP containing some of the most emotive material in a career spanning over 2 decades. Cuth’s production here leans towards a boom bap direction as opposed to Alecs’ experimentation during The Album to End All Alien Abductions providing a good soundtrack for The Iguana Man to back at simpler times, long lost friends & a new perspective regarding the beauty & brutality of the human condition.

Score: 3.5/5

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Static-X – “Project: Regeneration 2” review

Static-X is an industrial metal band from Los Angeles, California now consisting of frontman Edsel Dope, bassist Tony Campos, lead guitarist Koichi Fukuda & drummer Ken Jay. Formed by their original frontman Wayne Static, their 1999 debut Wisconsin Death Trip would become a breakthrough for them in the nu metal era & went on to release 5 more albums until Wayne tragically passed away in the fall of 2014. They reformed in Wayne’s memory in 2020 on their last LP Project: Regeneration mixing old sounds with new along with their new frontman Edsel Dope recording brand new vocals mixed with posthumous Wayne vocals that I found myself liking as much as their debut. So with the 25-year anniversary that & the 10-year anniversary of Wayne’s passing, they’re commemorating it with a sequel to their previous album.

“Stay Alive” is this great industrial metal opener with Wayne & Edsel sharing the mic talking about seeing red & needing this person in their lives whereas “Z0mbie” continues to incorporate the abrasive & heavy sound from industrial music into a heavier context by using elements from post-industrial like synthesizers & drum machines so Edsel describing a psychotic bitch. Wayne & Edsel link back up on “Jic Boi” admitting they’re strung out experimenting with cyber metal leading “Black Star” finds Wayne bringing the band back to their signature industrial metal sound solely talking about losing his mind over the course of what time he had left.

Moving on from there, “Kamikaze” screamed by Edsel kinda gives me a nu metal vibe a bit looking to go Hiroshima just before “No Hope” dabbling with alternative metal so Wayne can talk about needing something to die for. “Take Control” sees Tony Campos & Edsel on vocals together continues to fuse industrial & metal music in their stylistic fashion suffering from hallucinations, but then “Tone” delves further into industrial metal with Wayne talking about all that ever knew was fear along with joy & destruction.

“Run for Your Life” switches it up by going cyber metal again & Edsel confessing to being the enemy that’s dead inside while both Wayne & Tony join him for “Dark Place” so the 3 can sing about individuals searching for something to take away from tomorrow’s sorrow returning it to their industrial metal wheelhouse. “Disco Otsego” with Edsel on vocals is a cyber metal dedication to the titular city of this reviewer’s home state of Michigan while “From Heaven” hauntingly takes a darker tone & Wayne morbidly likening his life to a disease.

The penultimate track “Terrible Lie” begins the encore with this boring industrial/nu metal cover of the 9 Inch Иails song of the same name with some cyber metal undertones to it that both Edsel & Wayne sing together prior to the closer “Groove Yoda Data 14” ending Project: Regeneration 2 by putting a bigger emphasis on cyber metal & both of them talking about no pain killing them & that it’s cold inside.

Before I begin my concluding thoughts: It made me happy that Twiztid opened for these guys on the Rise of the Machine Tour as someone who considers ”Push It” to be such a classic single & as a Detroit juggalo who’s been following the Majik Ninja Entertainment founders since their Psychopathic Records days. As for the music itself, this sequel expands on everything that made the predecessor great. They continue to balance the sounds they came up on & dabble with new ones along the way with Wayne & Edsel continuing to show chemistry 1 last time.

Score: 3.5/5

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Crimeapple – “El León” review

New Jersey emcee Crimeapple enlisting New York producer Preservation for his 12th studio LP. Becoming a fan of his in the fall of 2017 with his 4th EP Sweet Dreams along with the Big Ghost Ltd. produced full-length debut Aguardiente that following spring, his profile in the underground grew exponentially from there. Discography standouts include the DJ Skizz-produced Wet Dirt, the DJ Muggs-produced Medallo, Cartagena, Breakfast in Hradec & Sin Cortar. However coming off a sequel to the Kilómetros EP few months ago, El León to me personally was already destined to become the most I’ve enjoyed Crime’s music in nearly a year & a half.

The title track starts the LP with heavy horns & pianos saying he doesn’t care if he was acquired for your tastes or not whereas “Don’t Mention It” featuring Sadat X keeping it drumless talking about how this shit isn’t a joke to them at all. “Lion vs. Panther” has this crazy vocal flip comparing himself to a lion & everyone else in his way as panthers prior to “Hunting Methods” bringing this infectiously drumless loop flexing that he doesn’t wait in line.

“Melena Dorada” featuring RLX talking about how blessings are all copious over some strings just before “Fumemos” goes into a stripped-back direction dedicating this one to all the smokers. “Camino Solitario” talks about traveling down a lonely road over a boom bap instrumental, but then “Vida Mantequilla” hooks up these kicks & snares with heavy horns having fun with a blonde on a Friday.

The song “Paw Prints in the Sand” wants to know how anyone is qualified to go up against him over a nightly beat while the penultimate track “Quanto Te Quiero” shifts into more delicate territory talking about a romantic interest. Finally to end the album, “Bulevar” is a deadpan closer dodging stress in favor of catching fish on a boat & might even give you some game if you ask him correctly.

It’s been quite some time since I personally have covered a project of Crime’s as his discography tends to be a little hit or miss sometimes, but El León unquestionably lived up to my expectations becoming the most I’ve enjoyed a project of his in a year & a half. Preservation’s predominately drumless production is more consistent than a lot of his output in 2023 & we get a metaphorical beacon for the unyielding hunger that the lyrical predator has always shown.

Score: 4.5/5

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Che Noir – “The Color Chocolate” review

Buffalo emcee/producer Che Noir releasing her 7th EP ahead of the 1-year anniversary of the Big Ghost Ltd.-produced predecessor Noir or Never. Discovering her after 38 Spesh signed Che to TCF Music Group & fully produced her first 3 EPs, her Apollo Brown-produced full-length debut As God Intended & then her self-produced 4th EP After 12 during the 2nd half of 2020 where her potential began to blossom exponentially. She has since followed this up with the sophomore effort Food for Thought as well as The Last Remnants & Noir or Never like I previously mentioned, so I went into The Color Chocolate interested in hearing what is said to be the first of many projects she has this year.

“Peaches & Herb” featuring Ransom starts things off with a soul sample advising to embrace losses since there’s some shit you gotta learn leading into “Junior High” featuring Evidence & Your Old Droog working in some pianos with a crooning vocal flip getting on the same page with one another conceptually. “Greek Scholar” featuring ICECOLDBISHOP starts the 2nd half of The Color Chocolateblending these kicks & snares with synthesizers on a race for money & power prior to “Vanilla Skies” produced by Graymatter rounding out the EP altogether with it’s lone solo cut speaking from the heart over a summery boom bap instrumental.

The Color Chocolate is said to just be the beginning of the world fully knowing Che Noir’s art along with who she is & I’m sure we’re gonna get another project from her soon that I’ll like more, but yeah this’ll hold off just fine until that time comes. The production is a mix of boom bap, soul samples & synthesizers with guests on almost every song that give equally impressive performances as one of the best from Buffalo. Highly looking forward to hearing what the rest of 2024 has in store for her.

Score: 3.5/5

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Benny the Butcher – “Everybody Can’t Go” review

Buffalo emcee Benny the Butcher ending the first month of 2024 by releasing his 4th full-length LP & major label debut under Def Jam Recordings. Being in the game for 2 decades already, it wouldn’t be until 2016 where he alongside his cousins Westside Gunn & Conway the Machine would take the culture by storm off projects like Tana Talk 3 & The Plugs I Met. Harry Fraud came in for a sequel to the latter following the mature Burden of Proof & finally, Tana Talk 4 took it back to the basement a couple years back. But for the butcher’s Def Jam opus, he’s having Hit-Boy produce half of it & leaving the other half to The Alchemist.

“Jermaine’s Graduation” sets the tone of what’s to come with a luxurious instrumental explaining that he doesn’t need a trophy because he is the trophy whereas “Bron” goes into a triumphant boom bap direction likening himself as the LeBron James of this rap shit. “Big Dog” featuring Lil Wayne works in this reversed loop talking about being too dogs, but then the title track featuring Kyle Banks on the hook giving back to the game accompanied by a soul sample & some kicks & snares.

Meanwhile, “T.M.V.T.L. (Trust More Valuable Than Love)” has some dynamic production throughout expressing the importance of trust over love just before “Back Again” returns to the boom bap with additional vocals from WWE Hall of Famer Snoop Dogg talking about being gangstas. “1 Foot In” featuring Stove God Cook$ starts the 2nd leg of the album admitting he was a foot out the game after that freestyle with Funkmaster Flex over a hard-hitting beat leading into “Buffalo Kitchen Club” featuring Armani Caesar blending these piano chords & hi-hats together reminding that nobody fucking with them.

“Pillow Talk & Slander” featuring Babyface Ray & Jadakiss sees the trio telling their older selves to watch out for these hoes over a rich trap instrumental while “How to Rap” takes it back to the basement showing everyone how it’s done. “Griselda Express” featuring Conway the Machine & Rick Hyde begins the encore of the LP by saying they ain’t stopping on top of a solemn beat & “Big Tymers” featuring Peezy ties things up with 1-last trap cut boasting their current statuses.

A lot people who started with Benny or played a part ain’t make it since some are no longer with us, in prison, taking other paths or others that just weren’t built for it. With the help of Hit-Boy & Uncle Al, he puts the biggest lesson he took from that on full display for his major label debut. The production is versatile, the guests match his intensity & the Butcher inviting y’all to his world.

Score: 4.5/5

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Masta Ace – “Richmond Hill” review

Brooklyn, New York emcee, songwriter, producer & record executive Masta Ace back with Toronto, Ontario, Canada beatsmith Marco Polo for his 9th full-length LP albeit their 2nd together. Breaking out in the late 80s as a member of the Juice Crew collective, his solo debut Take a Look Around became a Cold Chillin’ Records gem, the next couple SlaughtaHouse & Sittin’ on Chromewere accompanied by Masta Ace Incorporated, the Interscope Records-backed Disposable Arts is a classic concept album about enrolling in after realizing how bad the situation in Brooklyn is, his M3 Records debut A Long Hot Summer is another conceptual piece except this one’s about venturing through his hometown before going out on tour with Fats as his unofficial manager, MA_Doom: Son of Yvonne was basically him freestyling over the Special Herbs beats paying tribute to his mom & The Falling Season focused more on his high school years. However with the 5 year anniversary of A Breukelen Story produced by Marco Polo passing by this fall serving as a near-perfect love letter to the planet, Ace is taking it to Richmond Hill for the sequel.

After the “December 26” skit, the first song “Brooklyn Heights” is a boom bap opener with Ace telling y’all where he’s broadcasting from whereas “Certified” featuring Coast Contra takes a funkier approach instrumentally talking about their respective certification in the rap game. After the “Cartunes” skit, “Hero” featuring Inspectah Deck brings back the kicks & snares in full effect likening themselves to vigilantes just before “Life Music” featuring Speech & Stricklin’ finds the trio in their grown man bag over a dusty yet atmospheric beat.

“Below the Clouds” featuring Blu ruggedly advises to get your head out the clouds & after the “St. Roberts” skit, “Heat of the Moment” is an acoustic/boom bap hybrid continuing to provide wisdom such as making your decisions clear since they don’t want to understand what they fear. “Jordan Theory” mixes synths with kicks & snares explaining that you have to give up your soul to cross this bridge, but then “Money Problems” featuring Che Noir gives off an orchestral boom bap flare tackling financial issues.

After the “Scarborough” skit, “P.P.E.” takes it back to the basement talking about junkies & pushers being everywhere while “Outside In” featuring C-Red & E Smitty has to be one of the weaker tracks on here respectfully as we’re being treated to a piano-driven love ballad. “Connections” shows passionate hunger by keeping his status high until he’s satisfied over a sample-heavy boom bap beat while the jazzy “Plant Based” talks about how he’s been eating better these days. After “December 25” skit, “All I Want” featuring Wordsworth following the by wanting freedom for Christmas while the bonus track “Al Dente” asks when will we realize we’re equal.

Much like how A Breukelen Story was mainly inspired by Ace’s upbringings, this time we’re being treated to a conceptual album based on Marco Polo’s childhood growing up in the titular neighborhood in Ontario & one that reaches the bar that was set by it’s predecessor over 5 years ago. They take the issues of the day head-on with clarity so Ace can use his decades-worth of rapping experience to slice through the producer’s warm soul samples & crisp percussion.

Score: 4.5/5

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Lyrical Lemonade – “All is Yellow” review

Lyrical Lemonade is a multimedia company founded by Illinois music video director, videographer, businessman & music promoter Cole Bennett. For over a decade now, he has directed visuals for some of the biggest names in hip hop from the late Juice WRLD to even Eminem & Drake. I’ve even experienced a couple people likening me to Bennett at least a few times over the years along with Anthony Fantano & I’ve never spoken about it publicly, but since I might as well since here we are. The Needle Drop, I can see 110% & I’ve stated numerous times that he’s the reason why I started writing reviews myself. Lyrical Lemonade on the other hand, no I never understood that. Primarily because I write music reviews as opposed to directing music videos for other artists & the fact that every video Lyrical Lemonade puts out always gets 1M views within the first 24 hours. No disrespect intended whatsoever because I’m actually a fan of Cole’s videography myself, otherwise I wouldn’t be writing this. Anyway as for the very debut compilation in front of our very eyes that’s been in the making for 5 years, Def Jam Recordings is helping back All is Yellow.

“Fly Away” by J.I.D, Sheck Wes & Ski Mask the Slump God starts the comp with a thunderous trap instrumental expressing their desire to grow wings sometimes so they can do simply that whereas “Guitar in My Room” by KiD CuDi & Lil Durk shoots for a more stripped-back vibe trying to tell everyone who they really are. “Say Ya Grace” by Chief Keef & Lil Yachty mixes a crooning soul sample with hi-hats referencing to the Superman franchise owned by the Warner Bros. subsidiary DC Entertainment just before “This My Life” by The Kid LAROI, Lil Skies & Lil Tecca experiments with drill music talking about how it’s all timing.

Cochise, Denzel Curry, Juicy J, Lil B & Teezo Touchdown all join forces on “First Night” showing off multiple beat-switches admitting that they just wanna fuck that is until “Special” by Aminé, Latto & Swae Lee talks about wishing they could un-love someone on top of this crooning trap beat. “With the Fish” by $not & the late 6 Dogs tells y’all to meet them at the mountain top over a cloudy instrumental, but then “Doomsday” by Cordae & the late Juice WRLD goes back & forth with one another sampling “Role Model” by Eminem

It only makes sense for Em to do “Doomsday, Pt. 2” as the sample from the predecessor is slowed down & he makes it clear he’s been at J. Cole’s current level for quite some time & asking who had the 2nd best verse in “Forever” when I can answer that by saying Lil Wayne prior to “Fallout” by Gus Dapperton, Joey Bada$$ & Lil Yachty shifting gears into indie/alt-pop turf with additional elements of pop rap & synthpop describing a love that’s death row while “Equilibrium” by Babytron & G Herbo brings this luscious trap beat into the fold chilling with their millions waitin’ ’til the billions come.

“Hello There” by Black Kray, Corbin & Lil Tracy is this underwhelming emo rap/alternative R&B talking about being ghosts inside their exes’ beds interpolating “I Miss You” by blink-182 while “Hummingbird” by SahBabii, Teezo Touchdown & UMI taking a settler approach promising to wait by the door telling you all their stories facing the sun. “Stop Giving Me Advice” by Dave & Jack Harlow acoustically ends the compilation on a self-explanatory note & of course Dave outrapping Harlow.

When it comes to curating albums, Westside Gunn & Metro Boomin’ been doing what DJ Khaled thinks he’s been doing this whole time & the one that Cole Bennett gives us here as much as I enjoy his music videos myself is just okay as a full-listening experience. The production is fine as far as mainstream pop rap goes, it’s that the performances from the guests themselves are hit or miss. Another compilation in the future was hinted at & hopefully it’ll be a cut above, but I’ll take the highlights until then.

Score: 3/5

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Lil Dicky – “Penith” review

This is the sophomore full-length LP from Pennsylvania rapper, actor & “comedian” Lil Dicky. Appearing on the iconic 2016 XXL Freshman Class list, his debut album Professional Rapper was panned in 2015 & his debut EP I’m Brain in 2017 was also panned except to the point here you could argue that it might be the worst EP of all-time. “Freaky Friday” featuring Chris Brown became a hit too even though that wasn’t a good single either. However, he’s returning to release the soundtrack to his FX series Dave which was actually pretty well received running for 3 seasons.

“Brand New” is an industrial trap opener produced by Dylan Brady & benny blanco pulling from Yeezus a bit where Lil Dicky talks about feeling reborn which is fine, but KiD CuDi did it better on “New Mode” off Entergalactic. “Honestly” though works in an aquatic loop with hi-hats talking about how he’ll probably shock everyone when he drops whereas “Mr. McAdams” was actually a decent pop rap cut serving as a love letter to Rachel McAdams.

Corny bars like “Women shave they pussy smooth, lookin’ like a Ken doll” over generically thunderous trap production is what we get next on “HAHAHA” prior to the acoustic “Ally’s Song” focusing on his failed relationship with his ex-girlfriend of the same name. “Harrison Ave” samples “Wrapped Up Tight” by Delilah Moore based on the titular 2nd episode of the 3rd season, but then “Burst” is a poorly sung ballad about being a hopeless romantic.

“2nd Coming” calls himself “the next Kanye West” over a bassy trap beat when Ye is a top 10 producer of mine with 2 of the greatest albums of all-time in The College Dropout & My Beautiful Dark Twisted Fantasy under his belt when Lil Dicky is known for having an FX show better than both Professional Rapper & I’m Brain combined. “I Love Myself” goes drumless surprisingly talking about self love when I’d rather listen to “Self Luh” by Mach-Hommy while “Kareem-Abdul Jabbar” is from season 2 episode 4.

The concept of getting older on the melodic “Going Gray” isn’t anything new, but the way Lil Dicky paints it here doesn’t move me emotionally as Stevie Nicks during “Landslide” by Fleetwood Mac. The “Batman & Robin, it’s comical how I’ll keep runnin’ from problems” bar on “I Met a Girl” is one of the worst on the album & the singing is worse than it was on the previous cut. After the YG interlude from the pilot, “No Fruits & Vegetables continues the 2nd half of the LP with an obnoxious ode to cunnilingus from the 9th episode.

“I’m Drunk” goes into spacey pop rap/trap direction talking about being intoxicated on top of Cashmere Cat cooking one of the best instrumental on the album while “Morning After” takes place directly after the events of the previous joint except it has a more chilled out sound thanks to Tom Levesque of Vanguard Music Group & that Lil Dicky’s talking about intercourse. The bassy “My D!ck Sucks” admits to his dick being shoddy which I didn’t need to know & the settle “Still Freestyling” outro talks about turning 30.

To begin the 4 bonus tracks: the FNZ laced “Jail (Pt. 1)” is taken from the 10th & final episode of the first season while the trap-infused “Hearsay” continues to drop eye-rolling lines like “no capping with this paper like a Magic Marker”. “Hi, I’m Dave” is the theme song to the show & lastly “We Good” featuring GaTa ends the LP by going back & forth with each other exactly like the way they did it in the season 2 finale.

Other than a few cuts that sound okay within the context of the show that premiered the FX network owned by The Walt Disney Company, I really didn’t get a whole lot else out of Penith. The production mostly handled by benny blanco is the best thing the album has going for it blending pop rap & trap with additional elements of contemporary R&B but much like everything else in his discography, Lil Dicky’s take on comedy rap isn’t funny.

Score: 1/5

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