DJ Shadow is a 51 year old DJ & producer from San Jose, California who came up as a member of the Quannum Projects collective. His 1996 full-length debut Endtroducing….. is a landmark in the instrumental hip hop scene & the sophomore effort The Private Press was well received too, but everything since then has been treated to moderate reception. Last we heard from Shadow was the 2-disc Our Pathetic Age, but is returning 4 years later by making a stylistic departure for his 7th LP & his 3rd under Mass Appeal Records
“Ozone Scraper” is an underwhelming choice of an opener setting the tone of what’s to come by pulling from synthwave and dancefloor drum & bass whereas “All My” draws inspiration from footwork musically although I’ve heard the late DJ Rashad do this style better on Double Cup. “Time & Space” is a longwinded IDM cut lasting at 8 & a half minutes even though it just makes me wanna listen to Aphex Twin after a while just before “Craig, Incels & Wrightson” goes back into a more synth-based groove.
Approaching near the end of the first leg of the album, “Witches vs. Warlocks” hooks up these synths & hi-hats coming off a little robotically dull leading into “A Narrow Escape” becoming one of the better tracks here going for a more energizing atmosphere this time around. “You Played Me” was the best single we got from the project drawing inspiration from synth-funk, but then “Free for All” fuses elements of wonky & rock that wind up with mixed results.
“The Prophecy” shoots for a ghoulish vibe clocking in at nearly 5 minutes while “Friend or Foe” brings the synthesizers & hi-hats back together once more with a crescendoing 2nd half. “Fleeting Youth (An Audible Life)” strips the drums completely incorporating a spacious atmosphere while the 8-minute “Reflecting Pool” feels a bit hollow to me personally. The penultimate track “Forever Changed” pushes towards near the end by giving a cloudier trap flare to the beat & “She’s Evolving” closes shop by cooking up 1 last synthwave cut.
For an album called Action Adventure, I didn’t really find it to have either of those as entertaining aspects disappointingly. There’s definitely some adventure in Shadow making a headfirst foray into electronic dance music, but it hurts me to say that it doesn’t hold a candle to previous material & could very well be the weakest thing he’s ever done. Compared to those who paved the way for EDM like Daft Punk or like I mentioned earlier Aphex Twin & DJ Rashad, his takes on synthwave alongside wonky or footwork & IDM feel very plain.
This is the 9th mixtape from Detroit emcee Babytron. Coming up as a member of the trio ShittyBoyz along with his childhood friends Stanwill & TR Dee signing to Lando Bando’s own The Hip Hop Lab Records, he also branched out on impressive solo career for himself as well as the side groups Lewis & Clark and the Dookie Brothers. But the last couple years was probably his biggest yet landing interviews ranging from No Jumper to even Rolling Stone following the release of Luka Trončić a couple summers prior to signing with EMPIRE Distribution later that same month & then Bin Reaper 2: The 2nd Coming that same fall. But now coming off Bin Reaper 3 as well as the bootleg Style EP & the full-length LP 6, we’re being treated to a sequel to Megatron.
“Beyond Turnt 2” hops on top of some pianos & hi-hats for a sequel to one of my favorite tracks off the original Megatron saying it’s time to kick in the door whereas “#Certified” talks about being legit over an ignorant trap instrumental. “Murder Mitten” goes into hyphy territory reminding y’all exactly where the fuck he’s from keeping cameras with him like WWE Hall of Famer, 4-time WWE world champion, WWE United States Champion & WCW World Tag Team Champion Bill Goldberg prior to “IRL” featuring BLP Kosher going back & forth with one another accompanied by a booming trap beat turning muhfuckas into WWE Hall of Famer, former WWE Champion, WWE Intercontinental Champion, WWE United States Champion, 3-time WWE Tag Team Champion & 17-time WWE Hardcore Champion JBL.
Tron charismatically boasts that how his cup look, you think he bled in it on “Let’s Get It!” over strings & hi-hats leading into “Streetball” explaining to his girl that there ain’t no rules in the titular game over a rubbery Danny G & Jakesand beat. “Bop It!” featuring Drego & Beno experiments with a lowend sound telling the bitches to let them see that shit they doin’ all on TikTok, but then “Stutter Flow” experiments with a stuttering rap flow over a Detroit trap instrumental.
“Yo Mamma” by Lewis & Clark pulls off a back-&-forth delivery style better than “IRL” unsurprisingly since Babytron & Stanwill both come off so natural with a smooth backdrop & hi-hats leading into the bouncy “Down, Up!” talking about how it’s time to pick up a blick for him. “Kai Cenat / Old Days” featuring Luh Tyler is a decent 2-parter with dynamic & an average chemistry compared to “Yo Mamma” despite the subject matter of being rich now ain’t nothing like being broke back then just before “XXX” puts in extra hours over a tropical beat.
Meanwhile, the line at the start of “Deez Nuts!” asking why you rockin’ fake Bape in the midst of shopping off of Alibaba had me laughing congratulating someone for playing himself & the instrumental would fit snugly fine in a club while “Work!” ends the first half of Megatron 2by flexing that he grinds’ like he’s Rob Dyrdek himself over a spacey trap beat. GT & Cash Kidd join Tron so they can compare themselves to the “90’s Bulls” over a dark instrumental while “Ice Cream” featuring Certified Trapper, RiFF RAFF, Soulja Boy & YN Jay is actually a cool 3-minute cypher that I don’t mind other than Certified Trapper’s parts.
“Tutorial” shows off that he beat the game while everyone else is just learning how to play spitting out promethazine as if he’s former ECW World Television Champion, 3-time WWE Tag Team Champion, 3-time WWE Cruiserweight Champion, WWE United States Champion, CZW World Heavyweight Champion, MLW World Middleweight Champion, 2-time BJWジュニアヘビー級チャンピオン, 2-time BJW認定タッグチャンピオン & CMLL MundialPeso Semicompleto Campeon 田尻 over pianos & hi-hats while the synthesizer heavy “Trick or Treat?” explains exactly how he ended up going from Chris Rock to Ray Romano in his life.
“Red Ring of Death” sticks to the Detroit trap guns making a clever reference to what happens when 1 or more components of the Xbox 360 have failed while the piano-trap hybrid “WHATS FUNNY? (HAHA)” talks about hoes being nothing to brag over hitting bitches with the finisher of inaugural AEW World Champion, former ECW World Television Champion, IWGPインターコンチネンタルチャンピオン, ROH World Champion, WCW World Television Champion, 6-time WWE world champion, 7-time WWE Tag Team Champion, 4-time WWE Cruiserweight Champion, record-holding 9-time WWE Intercontinental Champion, 2-time WWE United States Champion & WWE Hardcore Champion Chris Jericho.
Babyfxce E’s contribution to the 2-part “241” doesn’t really do it for me even though Tron himself & the beat-switch themselves are just fine while “$1M” talks about waiting on his 10th payment & referencing former 2-time アイアンマンヘビーメタル級チャンピオン & the final WWE Cruiserweight Champion Hornswoggle hoping on top of more keys & hi-hats. “Coney Island” featuring AK Bandamont, BandGang Javar, Glockboyz Teejaee, KrispyLife Kidd, Los & Nutty and Nuk is a mediocre Detroit trap posse cut while with Krispylife & Babytron standing out the most while the bell-infused “Ain’t They?” by the Dookie Brothers picks up the pace wanting them to be shown more since it ain’t enough.
“Yakuza” featuring Fordio, J1Hunnit, MJPaid, Prince Jefe & ScrumbleMan reps the Dog $hit Militia for 3 minutes giving off a bassier quality musically while the song “Thumb War” vibrantly likens USDs, Euros, Yen, IDM to exactly that. The penultimate track “AYEE!” shoots for a grimmer approach saying you’d think he’d be making Kool-Aid playing with his father Mr. Sadistic who happens to be the frontman of former Psychopathic Records rap metal outfit Motown Rage & “I Imagine” wraps up Megatron 2 by paying tribute to his late homie $cam.
Although Style wasn’t all that good to me, 6 still stands as an impressive debut full-length album from the best member of the ShittyBoyz & we got a sequel to the tape that he dropped right before he made it onto the previous XXL Freshman Class list. Feature list is iffy, but the production is grounded in his signature Detroit trap sound dabbling with lowend a bit more & Tron himself improving himself compared to the last couple outings from him.
Buffalo emcee & singer Elcamino back with his 15th EP. Blowing up in 2017 off his self-titled EPwith Griselda Records, his profile increasingly grew after being followed up by Walking on Water mixtape in the summer of 2018 gradually building up a solid discography for himself along the way. But coming off a well received Black Soprano Family Records debut They Spit on Jesus earlier this month, Camino’s gonna keep it rolling by linking back up with 38 Speshfor a Martyr’s Prayer sequel.
“Streets Don’t Love Us” is minimally-produced opener explaining to everyone why he feels that the streets really don’t have love for him & his crew at all whereas “You Made It” gives off a warmer boom bap groove to it talking about celebrating success. “Kill Switch” delves further into his hardcore bag detailing that the best way to kill ‘em is by fucking their while “Weighing Options” somberly talks about another body dropping with each day. “Dope Talk” obviously spits that drug shit over some pianos & “No Drums” happens to be an appropriately drumless closer discussing his acquired tastes.
As much as I still like They Spit on Jesus for a B$F debut, Camino’s never missed over Spesh beats & it really doesn’t come as a surprise to me that I would view Martyr’s Prayer II as the best 2023 offering in the Buffalo recording artist’s discography. Spesh’s production is a slight cut above what we heard from Elcamino’s latest LP at the beginning of the month & the dude has some of his strongest performances in a while.
Ameerlyn is a duo consisting of Houston, Texas emcee Ameer Vann as well as Ghanan-American recording artist Merlyn Wood, both of whom you may remember as original members of the now defunct BROCKHAMPTON collective with Ameer being featured on the cover of their highly acclaimed SATURATION trilogy before being kicked out in 2018 due to sexual misconduct allegations & Merlyn being known for his Ol’ Dirty Bastard-like aura during his time in the best boy band since 1 Direction. Now it’s almost been a year since BROCKHAMPTON’s disbandment but only a week until Kevin Abstract puts out his 5th solo effort Blanket, I didn’t expect Blacksmith Recordings to sign Ameerlyn for their debut EP.
“Swisher” is an atmospherically bouncy opener to the EP with both of them delivering some energetically hardcore bars in their own characteristic manners whereas “Smog Check” goes for a cheery boom bap flare instrumentally talking about the lives they’ve made off this music shit. “On Everything” has a vibrant trap tone so both of them can ball like the playoffs just before “Okay” jumps on top of hi-hats humorously dropping more braggadocio.
Meanwhile, “Hit” goes for a moodier trap sound to get in their romance bags leading into the quickly produced “Freaks” talking about the weirdos coming out once the sun goes down. “Bling Bling” goes for an alien-esque sound to the beat continuing to boast, but then “Love’s a Scandal” shoots for a groovier aesthetic comparing love to some sort of wrongdoing.
The penultimate track “Song 2” draws near the end of Ameerlyn’s first EP together incorporates this mellow ass guitar lead getting on the more introspective side of things lyrically (especially Ameer) & as for the closer, “Ride” appropriately pays homage their Houston roots chopped & screwed style considering that BROCKHAMPTON originated in San Marcos.
As surprised as I was like other BROCKHAMPTON fans to hear Ameerlyn reuniting considering the allegations against Ameer & the highlight “DEARLY DEPARTED” off GINGER, I also had my curiosity about Slime in the Ice Machine & I wound up enjoying it as a fun little subgroup project. Merlyn & Ameer still match each other’s intensity as they always have been able to do so in the past with decent production also.
This is the 3rd full-length LP from Inglewood emcee & songwriter Domo Genesis. Starting in mid-2009 as a member of the now defunct Odd Future collective, he’s gone on to give us 2 studio albums accompanied by 4 mixtapes & 4 EPs within the last dozen years, my personal favorites of which being his debut mixtape Rolling Papers, The Alchemist-produced 3rd mixtape No Idols, the Evidence-produced debut EP Aren’t U Glad You’re U? & even Doms’ last full-length Intros, Outros & Interludes. That being said, hearing Graymatter being brought in behind the boards throughout the duration of What You Don’t Get?! undoubtedly had me interested.
“Adonis” is a drumless flute-tinged opener addressing those who wonder if Domo still got it with the pen whereas “Plank Walk” taking the smoother route instrumentally simply looking to get a gage on it. “Stankwater” gives off a nocturnal flare to the beat explaining there ain’t no other option but to get it done where he’s from leading into the calming title track explaining that everything’s what it seems.
Moving on from there, the bluesy “Details” explains that he’s seen enough not to believe bullshit since he doesn’t listen to a lot of what he hears personally just before “Rick Fox” featuring 3WaySlim finds the 2 over a jazzy beat asking if they ready or not. “This 2 Shall Pass” featuring Remy Banks soulfully keeps the money on the body & the music, but then “I See U Doing U” featuring Fly Anakin chops up another soul sample talking about being out here doing your thug thizzle.
“Gifted Creatures” continues the 2nd leg of the album admitting that he has some stories that he’ll eventually take to his grave in the future while “Halfprice” gives off a kick-back feeling to the beat explaining he always keeps his enemies close only to be certain. The heavenly aural Bend” explaining that y’all must be crazy to him while the 2-part “2 Be Continued / Taking My Time” declaring to be majestic when you see it.
Pushing near the end of the LP, the penultimate track “PrettyUgly” soothingly talks about doing things that he resents even though they could never knock him off his pivot & “Until U Understand” closes out What You Don’t Get!? on a heartfelt note explaining exactly how he finds this shit to be a luxury.
Intros, Outros & Interludes still has to be my favorite LP that Doms has put out yet. That being said: I feel like anyone who enjoyed that previous album as much as I did will also come away from What You Don’t Get?! liking it too. Graymatter continuing to prove himself as a force to be reckoned with in the underground by cooking up tight production & Domo kicking it over them.
This is the 6th full-length album from Nebraska emcee/producer King Iso. Coming up as a protege of San Diego chopper Twisted Insane, he would only drop first 2 albums & The Insanity Plea & Autophobia under Brainsick Muzik. Shortly after, they fell out & it prompted Iso to put out his next album DeMenTia independently in 2018. However, I was thrilled to see him sign with Strange Music the following spring & his debut on the Kansas City powerhouse World War Me has quickly become one of the label’s best albums ever. Get Well Soon & 8 P.M. Med Call both went on to be well received too, so it makes since to have Iso cap off Strange’s 2023 run by putting out iLLdren during the final weekend of the month.
After the “Welcome to iLLdren” intro, the first song “Feel” featuring Tech N9ne co-produced by Matt Phoenix works in some twangy guitar passages & hi-hats talking about how he wasn’t even a teen yet until he started puffing on that green whereas the title track talking about forming a society of outcasts over a dreary trap instrumental. “Stoned” blends a cinematic loop & hi-hats explaining that his father was never there for him, but then “CPS” featuring X-Raided gives off an eerie trap vibe talking about how murder was all they saw growing up.
“Voices” featuring Redro reflects the first time he could start hearing voices in his head over some hellish guitars & hi-hats just before “Midwest Baby” featuring Snake Lucci is an acoustic trap ballad ending the Baby Blues talking about growing up in their hometown of Omaha. “T.F.O.G. (Town Full Of Ghosts)” starts the Teen Trauma section of the album morbidly reps his set while the haunting trap hybrid “Young” talks about feeling like Pac.
Meanwhile, the suspenseful piano chords mixed with the hi-hats on “Teen Suicide” detailing the leading cause of death today leading into the grunge rap “Nightmare” praying that he’ll wake up from the suffering one day. “Holes” featuring Taebo tha Truth finds the 2 taking it back & keeping it current at the same time over a rowdy trap beat while “Run Away” gives off a smoother vibe talking about running from his problems.
“P.T.P.A. (Party The Pain Away)” featuring Tinywiings goes into trillwave vibe for a fun club banger & Iso showing off plenty of charisma. Especially the “Face Off” reference during the first verse as much I still don’t like The Rock’s verse on there respectfully. “Love Me” ends the 2nd leg of the LP with a pillowy trap vibe telling y’all to prove it that you love him prior to the Adult Adversaries starting off to a heartfelt tribute to “My Kids”.
Being born with Asperger’s syndrome myself, hearing songs like “Way You Are” is absolutely inspiring hearing King Iso paying tribute to one of his children that’s on the spectrum while the piano-trap “Step Daddy” pays homage to 2 individuals that he loves so much. “Attack of the Clones” featuring C-Mob has these killer synth-organs on top of hi-hats calling out biters & “Dear Mama” ends the album with a warm tribute to his mother that he reconciled with earlier this year.
Since 2019, there is no question in my mind that this dude has become the best artist on Strange Music other than Tech himself for the way he addresses topics that aren’t covered too often in hip hop today like mental health. But in comparison to Get Well Soon, iLLdren is easily Iso’s most introspective work to date. He takes us through chapters of his entire lifetime & beyond with some eclectic trap production & tight features near-flawlessly.
Atlanta, Georgia duo the Homixide Gang consisting of Homixide Beno! & Homixide Meechie are back with their debut mixtape. Beginning to turn heads a couple years ago after dropping their debut EP Snotty World, that led to trap trailblazer/rage pioneer Playboi Carti making them the 3rd act to sign to his Interscope Records imprint Opium Records following Ken Carson & Destroy Lonely respectively. Homixide Lifestyle was a solid debut & Snot or Notreceived mixed responses this past spring, but are celebrating the Halloween season by unleashing 5th AMNDMNT.
“Gunz in Soho” is a rage-inducing opener produced by Cxdy of Internet Money Records & Vanguard Music Group talking about walking around the titular neighborhood in Manhattan with heaters on them whereas “LexLuger” gives off a grimly approach instrumentally explaining that they do what they want by breaking the rules. “B5” goes right back into hypertrap territory describing the fast lives that they just so happen to live, but then “NiNO 5ROWN” stands as a highlight from F1LTHY’s dark synth-based production to the reference made towards the titular New Jack City character.
Problem Child 5’s appearance on the cloudy trap joint “MW5” is ok to me & calling out those who wanted smoke with them until they ratted just before “FroZone” brings back the rage beats reminding exactly what’s gon’ happen when you play with the shits on their watch. “What It Is?!” was a perfect choice for a single as they hop over a tight trap instrumental from Pi’erre Bourne talking about people that cap in their raps, but then “5onjour” dives back into their hypertrap vibe hooking up with Paris chicks.
“Hom3 Invasion” has these wavy synth patterns throughout so the Homixide Gang can chase the paper while “5rew” brings in a psychedelic beat from F1LTHY of Working on Dying boasting that they be drippin’ in fashion with others knowing how Homixide does it. “Roundz” blends these fuzzy synths with hi-hats telling all the fuck boys to come play with them referencing WWE’s 2nd flagship program Friday Night SmackDown whose GM is now former 2-time NWA World’s Heavyweight Champion, IWGPタッグチャンピオン, GHCタッグチャンピオン, 2-time TNA World Champion & 2-time TNA World Tag Team Champion Nick Aldis while “DesignerDRÜGZ” experiments a bit giving plugg a shot to show off the work both of them be putting in.
Meanwhile, “Road Rage” explains that the Homixide Gang don’t necessarily fuck with messy bitches with Synthetic of Internet Money Records pulling from trap metal a bit musically while “Left Hand” incorporates these glamorous synthesizers throughout challenging anyone to come grab everything from them. “RckstarB!tch” with Toom & Zodiac of Vanguard Music Group behind the boards comes through with a chilled out dedication to all the women that engage within the rockstar lifestyle while “25/8” is a 94 second rage cut turning 24/7 up to 11.
“AddXcts” draws near the end of the tape by fusing elements of metal music with trap once more making it clear that they got habits while the penultimate track “E.U.” gives off a spacier flare to the rage beat looking to run it up. “HXG Bizness” couldn’t have ended the tape any better from the gorgeously bouncy trap instrumental so the Gang can clarify what their business is exactly.
Snot or Not still has it’s highlights even though I still don’t listen to it as much as I do with their debut, yet I feel like this mixtape is the best thing that Homixide has done in 2023 out of both projects they’ve given us in the last 6 months. The tape has a rougher vibe to it as Beno! & Meechie continue to expand on their niche hypertrap sound.
Verb T is a 42 year old MC from London, England, United Kingdom starting out by signing to Low Life Records & briefly YNR Prorictions prior to becoming a part of The 4 Owls. However, he’s also been carving a path of his own since 2006 putting out a dozen LPs & 5 EPs throughout that span of time. But when I found out that Vic Grimes was being brought in to produce T’s lucky 13th full-length album under High Focus Records, it significantly raised my expectations to the point where The Tower Where the Phantom Lives could become my favorite solo effort of his.
“The Phantom Appeared” starts the LP fittingly by introducing us to the titular Phantom character over a dusty boom bap instrumental whereas “Tower With a View” ruggedly talks about the residential tower that this ghost resides in. “Inner Child” works in a dirty bass-line as well as kicks & snares detailing that you can’t believe in something that you pretend to be, but then “Very Superstitious” talks about this mythical feeling that T’s getting keeping it in boom bap turf.
On the other hand, “Fireworks & Flowers” hooks up these kicks & snares with vibraphones explaining the way he started & will end his career while “Forget Feelings” remains raw talking about walking with purpose. “I Guess?” is a piano/boom bap hybrid reminding everyone that you can’t make moves when you’re hands are tied while “The Invisible Fortress” describes the titular compound that happens to be unseen.
“New View” gives off a cloudy, boom bap edge to the beat visualizing a future that more secure continuing with a new story in his life while “4 Oh!” admitting that 4 decades of his life are on the horizon as he’s not ready over vibraphones, kicks & snares. “Your Heart Deserves” as a closer ties it all up by performing from a profound perspective.
As someone who’s been following this guy since my senior year of high school 8-9 years ago, The Tower Where the Phantom Lives certainly lived up to my expectations because I can firmly say that it’s the best that Verb T has sounded by himself. The conceptually has cohesively well-told & Vic Grimes couldn’t have been a better person to do the musical backings helping bring T’s story to life.
Majik Ninja Entertainment is an underground hip hop label from Detroit, Michigan founded by Twiztid & their manager George Vlahakis in 2014 after departing from Psychopathic Records only 2 years before. However, they quickly built an empire or their own from bringing a few other PSY alumni along for the ride to help introduce G-Mo Skee & Alla Xul Elu to a much wider audience. The label’s first comp showing off their roster Year of the Swordhas to be my personal favorite of the 4 thus far with all respect to Songs of Samhain as well as the Attack of the Ninjas compilation & Songs of Samhain 2: Haunted Record Player. But as that time of the year comes around again, MNE’s following up on Songs of Samhain 3: Cult of Night by taking a trip through The Liminal Space.
After the “Liminal Space” intro, the first song “I’m the Night” by Twiztid is a rap rock opener produced by Fritz the Cat making the comparisons of Jamie Madrox & Monoxide to darkness whereas “All My Friends Are Dead” by Blaze Ya Dead Homie jumps over some pianos & hi-hats from Grady Finch talking about his homies no longer being here with him. “Deluded Dead” by Jamie gives off an industrial rock vibe musically discussing the mislead deceased, but then the self-produced “6 Feet Deep” by the artist formerly known as Young Wicked himself James Garcia of the Axe Murder Boyz ominously looks to bury motherfuckers.
“Highest High & Lowest Low” by Bonez Dubb, Boondox & Insane E finds the trio over a dark trap beat explaining that things have changed as they look to plateau leading into “Last House on Dead Street” is the prelude to an album that Blaze has been working on for the past 15 years when he was still on Psychopathic from the morbid instrumental to the gruesome performances. “If I Return” by Jamie & Zodiac MPrint heinously declares what would happen if they eventually make a return accompanied by a grueling beat just before “Merciful Fate” by the Eastside Ninjas goes for a ghoulish atmosphere talking about voices invading their minds.
The song “Strangehold” by Alla Xul Elu & the House of Krazees puts the 2 generational horrorcore trios together for the first time ever cavernously spitting the wicked shit beautifully while the chaotic penultimate track “Collide” by Triple Threat talking about everything inside being a mess. “Wounded & Suffering” by Grady Finch & WackGxd ends the compilation with a decent ballad rooted in Oh! The Horror’s signature sound.
Cult of Night showed some considerable improvement over Haunted Record Player & the original Songs of Samhain so with Fright Fest coming up in a few days, the journey through The Liminal Space is once that juggalos will enjoy for future Halloween seasons. The performances are a tad more consistent as everyone displays their own artistic characteristics in their respective fashions.
This is the 2nd EP from Davenport, Iowa rapper & dancer Brigid Bites. Creating the juggalette burlesque troupe in 2017 called Juggalesque, they’ve have since become a drawing attraction at the Gathering or the Juggalos since then with her eventually joining Chapter 17 Records CEO/Psychopathic Records recording artist Ouija Macc on stage quite a few times since. However she made a pretty solid introduction into the music world this past spring with her last EP Hatchet Girl, she’s returning in time for Hallowicked to put out Pumpkin Spice.
The title track produced by Elevated Focusion formerly known as Jonny Rythmns gives off an electronic vibe instrumentally as she talks about the titular spice mix making you feel incredibly alive whereas “Batshit Love” works in some synthesizers expressing her to desire to be insanely toxic. “D.O.T.W.S. (Daughter Of The Wicked Shit)” gives off an eerier trap flare to the beat declaring herself to be exactly that & “Stay Forever” is a groovy choice of a closer describing a carnival full of dead ghosts.
Hatchet Girl to me is still a solid gateway as to who Brigid is both personally & artistically, but I honestly think that she outdid herself a bit on here. The production mostly handled by Elevated Focusion is on caliber with the last EP as I feel like he continues to bring the best out of the Iowan Juggalesque founder so she can provide the soundtrack to the best time of the year.
Legends Will Never Die 