Insane Clown Posse – “WOH the Weepin’ Weirdo” review

The Insane Clown Posse are a horrorcore duo, the founders of Juggalo Championship Wrestling & the longest reigning JCW World Juggalo Tag Team Champions from Detroit, Michigan consisting of Violent J & Shaggy 2 Dope. However, very few know that 3 other members came & went during the first 5 years of the group’s inception. Not only would The Duke of the Wicked & the Southside Strangla go on to create seminal wicked shit albums like The First 6, but they gained an extremely loyal fanbase in the process & their self-owned Psychopathic Records became an independent hip hop powerhouse as the label’s roster continued to grow. I was a bit worried about their latest album Yum Yum Bedlam given that the prelude EP Yum Yum’s Lure was panned by fans when it came out a couple Juggalo Days back but when Halloween came around, they proved me wrong with what I believe to be my 3rd favorite card in the 2nd deck. They then began a trilogy EPs last year called the Seeds of Yum Yum by letting Wicked Vic the Weed blossom during the first quarter of the year & Pug Ugly the Stink Bud at the Gathering of Dreams, but took a break to J can put out his sophomore full-length solo album Bloody Sunday on this year’s Juggalo Day & even 2 Dope’s 3rd EP The Quest for the Ultimate Groove on the 6th year anniversary of F.T.F.O.M.F. (Fuck The Fuck Off MuthaFucka). But ahead of the 6th Joker’s Card in the 2nd Deck, they’re closing out the trilogy on their 19th EP.

“Out the Sky” after the intro is a ruggedly futuristic opener produced by Chapter 17 Records/PSY in-house producer Shaggytheairhead with Violent J referencing lucha libre popularized by the Lutteroth family-owned Consejo Mundial de Lucha Libre (CMLL) & it’s rival promotion Lucha Libre AAA Worldwide (AAA) owned by the Peña–Roldán family whereas “Elly May” has that old school carnival sound courtesy of none other than Mike E. Clark so both of the wicked clowns can toss the mic back & forth with one another telling the story of the titular character. “Keep on Choppin’” dives into rap rock turf as the Duke dismembers bodies while the track “Banshee” gives off a more thunderous approach instrumentally so both of them can talk about piledriving motherfuckers through a table. And until the Mike P. remix of “Something to See”, the final song “Average Joey” is a Shaggy 2 Dope solo cut with a somber boom bap beat knowing he can’t be fixed that’s on par with the material on Quest for the Ultimate Groove.

It’s been almost 3 years since the Yum Yum era began & not only would I consider WOH the Weepin’ Weirdo to be a solid closer to the Seeds of Yum Yum trilogy, but it has me anticipating the 6th & final Joker’s Card of the 2nd Deck even more. Much like Pug Ugly the Stink Bud, the production is a mix of ICP’s past & present sounds as both of the Clowns play to their strengths in the midst of reminding everyone how strong their chemistry is over 3 decades deep in the game for those who thought they were disbanding. The Yum Yum era will always hold a special place in my heart because the first time I went to a Gathering was in 2021 only 2 months before the album came out on Hallowicked even though I’ve been down with Psychopathic since they were a roster full of artists in 2011 as a 14 year old outcast starting high school.

Score: 3.5/5

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Brezzo – “ISO” review

This is the 5th EP from up-&-coming Atlanta, Georgia recording artist Brezzo. Exploding onto the scene a year & a half ago with Division Rules the World, he would follow this up last winter in the form of Holdup I Got Everybody & then Dirty weeks later on New Year’s Day 2023 respectively. But coming fresh off Get It the Fastest this past spring, he’s continuing to apply pressure going into the summer season by dropping ISO.

“KO’d” is a vibrant trap opener boasting that no one else is built like him whereas “Bills” works in an atmospheric backdrop & hi-hats talking about how motherfuckers wouldn’t even know what to do here in the position that he’s currently at in his life. “Recall” takes a more occult trap route instrumentally so he can get on his “young n***a shit”, but then “Rush Hour” ends the first leg of the EP with pianos & hi-hats referring to the trap house as his 3rd home.

The song “Reason” shifts gears by going into psychedelic territory flexing the fact that he be getting money for a reason while the penultimate track“Dogs Food” blends these synthesizers & hi-hats together making it known that he’s in the trap house asking what their opposition wants to do. “LA” lastly is a futuristic trap closer reminding y’all that he’s been up without any handouts needed in any way shape or form.

Between this & the other 4 EPs that Brezzo’s dropped within the past year, I don’t think ISO would be a bad place to start for those of you who’re looking to get into his music. In fact, it might be one of the strongest in his whole discography thus far. He’s always pulled off some quotables from what I’ve previously heard from him & that’s definitely the case here, but the production side of things are gradually getting better too.

Score: 3.5/5

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Teflon – “2 Sides to Every Story”

This is the sophomore album from Brownsville emcee Teflon. Coming up as an associate of M.O.P., he would also make his presence known during the summer of 1997 by dropping the full-length debut My Will to moderate reception & returning 9 years later in the form of the debut mixtape Bad News. However, it’s been another 17 years & Tef’s returning by offering 2 Sides to Every Storychoosing only 2 people behind the boards to handle the musical soundscapes.

After the “2 Sides” intro, the first song “Out the Gate” is a sample-infused boom bap opener produced by DJ Premier going ape shit from the start like it ain’t nothing whereas “Contraband” works in some horns as well as kicks & snares talking about how you don’t known the half of his crew. “4 tha Love” ruggedly discusses being driven by the fortune until “It Is What It Is” going into the piano boom bap direction thanks to Jazimoto advising not to say any more being all about the business.

“Life in the Feds” has a funkier groove to it detailing what it was like to be behind bars & after the “Some of the Fellas on the Block” interlude, “Know Our Way Around” featuring the Mash Out Posse pairs up Tef with Billy Danze & Lil’ Fame over a more horn-heavy beat talking about how this is exactly it’s going down. “No Fake Love” is a brass/boom bap crossover taking a shot at those fakin’ the funk, but then “Baby” brings these piano chords into the fold to spaz out.

Benny the Butcher’s verse on the track “Hostile Takeover” has to be my favorite feature on the album as he & Teflon returns to a dustier sound so both of them can get in their battle rap bag while the final song “The Thoro Side” after the “How It Was” skit features M.O.P. again 1 last time except the Preemo instrumental is so much dirtier than “Know Our Way Around”. On top of that, the concept of them flexing their lyrical prowesses is such an exciting combination. The remix to “Life in the Feds” is more horn-centered compared to the original, but it’s no better or worse by any means.

I‘ve always heard about this guy through his longtime relationship with the marxman, but was a little hesitant going into 2 Sides of Every Story considering that I’m not the biggest My Will fan myself, but I must admit that his comeback effort here surpassed my expectations a bit & that I enjoyed it more than I thought I would. His performances here sound a lot better than they did the last time we heard him by himself 26 years ago in the midst of Premier & Jazimoto playing Ying & Yang on the production side of things although Preem’s sticks out more to me personally.

Score: 3.5/5

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Shaggytheairhead – “Blood Sweat Tears” review

Shaggytheairhead is a 29 year old producer, rapper & fashion designer from Las Vegas, Nevada that caught my attention after producing one of my all-time favorite Ouija Macc songs “Nardwuar Glocc” back in 2018. He would back that up with 4 EPs before becoming an in-house producer for Chapter 17 Records & Psychopathic Records alongside his Mythic Mindz cohort Devereaux. Shaggy would drop his debut album Wakin’ Up during the 21st annual Gathering of the Juggalos, which was the only Gathering I’ve ever been to & a weekend that I’ll never forget. As far as the actual music on Wakin’ Up, it’s my favorite of his thus far because of how much he improved his lyricism & that he dabbled with a wide range of sounds to show his influences. Following the Gathering of Dreams last summer however, he dropped a producer album called Grin to the Grave featuring a wide range of artists rapping over his production from Ouija to King Iso, Project Pat, Sir Michael Rocks & even Matt Ox. But coming off the sophomore effort Coffee this past February, he’s returning with a 3rd album.

“almost there” kicks it all off with an entrancing trap instrumental co-produced with his Mythic Mindz right hand man Devereaux talking about focusing on the dream whereas “grin to the grave” has a wavier approach sonically encouraging to let the haters hate & that he’ll die smiling. “life” pulls from the Memphis rap sound a bit pouring one out for all of those who couldn’t be with us today leading into “War Never Ends” working in some kicks & snares talking about intimidation catching up to him.

SPLXFFY’s feature on “so alive” is just ok although I absolutely love the warmer tone that Shaggytheairhead brings to the table both sonically & conceptually, but then “show love (give someone a hug)” picks things back up with a fun trap ballad all about spreading kindness. “out the park” almost gives me a hyphy feel except it has these icy synthesizers getting on the more boastful side lyrically just before “fam” featuring Chapter 17 Records’ newest signee Darby O’Trill gives off a rowdier edge wanting to throw hands.

“puzzle” begins the final leg of the album on a pluggier vibe realizing that he’s a dying breed while the song “i’m ok” reunites with SPLXFFY for the last time & performing better on “so alive” as this time they talk about all up in heavy thoughts over a somber trap beat. The penultimate track “she got” goes into sample-based territory confessing his love for a woman that’s like a weapon to him & “drink the pain away” is a dreary trap closer dedicated to those who like to be under the influence of alcohol until you can’t feel the pain anymore.

Wakin’ Up showed the juggalos what he was capable of on the mic & Coffee expanded on that, but he really did give it all Blood Sweat Tears on this one because I genuinely feel like it’s an album that those familiar with him must hear if you want to know more about who he is. The subject matter is more personal than his last couple albums were expanding on the versatile production ranging from Memphis rap & trap to boom bap & the art of sampling.

Score: 4/5

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Loveboat Luciano – “Parole” review

This is the sophomore full-length album from Buffalo emcee Loveboat Luciano. Emerging in 2018 off his debut EP Yung 4 Eva, he would go on to expand his discography by putting out the full-length debut Probation & a sequel to the Institutionalized by the Streets mixtape before signing to Black Soprano Family Records. But coming off Fuego Base’s debut Biggest Since Camby on 4/20 & then Heem’s sophomore effort From the Cradle to the Game over a month ago, Loveboat’s stepping up to the late on Parole

The intro is a gritty boom bap opener taking y’all where he came from whereas “2nd Strike” featuring Benny the Butcher fuses these synths, hi-hats, kicks & snares together courtesy of Rick Hyde letting it be known that there’s a storm coming. The title track hooks up what sounds like a whistling kettle pot dedicating this one to all the homies that be living raw to this day just before “Exonerated” goes into a more piano-driven territory talking about having nowhere to go but the block.

“Piss Test” featuring Ricky gives off a bluesier vibe thanks to Jahlil Beats calling out those who were hating while they were counting their stacks leading into “Detainer” featuring Dave East shifting gears into crooning trap turf discussing being about their business. “Warrant” featuring Heem & Dappa angrily disses those who turned witness ratting on the gang, but then “House Arrest” brings in another trap beat encouraging everyone to get used to B$F if you aren’t by now already.

Meanwhile, “Sentencing” starts the last leg of the album by returning to the boom bap promising to not let any of the hard times change him that is until the song “Loretto” featuring Conway the Machine has a more delicate instrumental venting over these demons that they be battling. The penultimate track “PSI” featuring Che Noir takes an atmospheric approach talking about situations that done turned them into bosses & the outro is a sample/trap crossover refusing to be on some extra shit.

Probation gave B$F fans a glimpse at the hardships that Loveboat was going through when the label started blowing up & expanding it’s roster, but Parole really offers a new perspective of where he’s been at in his life since then. The production choices have improved, the feature performances are more consistent & brings his undeniably rejuvenated passion that he’s received ever since coming back home to the mic.

Score: 3.5/5

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The Alchemist – “Flying High” review

This is the 10th EP from Beverly Hills producer, DJ & rapper The Alchemist. Beginning as 1/2 of the duo The Whooliganz in 1993 with Scott Caan, they would only disband a year later after recording a debut album that eventually got shelved & Scott went onto acting like his late father. Mudfoot on other end quickly established himself as one of the greatest producers in hip hop history with a resume including ranging names from Mobb Deep to even Eminem. But as the 2 year anniversary of his last solo EP This Thing of Ours 2 approached this fall, Uncle Al is Flying High back with another brief offering.

“RIP Tracy” by billy woods & Earl Sweatshirt is a soulful opener to the EP with both MCs wanting everyone to know exactly who the fuck they are & what they represent while the song “Trouble Man” by Boldy James & T.F. has a grimier approach instrumentally so they can talk that gang shit. The penultimate track “Bless” my MIKE & Sideshow has a more soothing sound to it talking about touching briefs & splitting it with their dogs, but then “Midnight Oil” featuring Jay Worthy & Larry June ends the EP with the trio over a sample-based beat acknowledging that everyone knows they’re top tier.

It’s always exciting when Alchemist comes through with an EP showcasing his talents behind the boards bringing along some of the finest MCs that he can assemble to tear his beats to shreds because the Flying High series is off to a solid start here. Al’s signature sound remains in tact so everyone can bring their own unique delivery styles to the table, even Mudfoot himself on the closer.

Score: 4/5

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Lil Uzi Vert – “The Pink Tape” review

This is the 3rd full-length album from Philadelphia rapper & singer Lil Uzi Vert. Becoming a household name in the trap scene with their 2015 mixtape LUV is Rage & then Lil Uzi Vert vs. the World the following year, Uzi has been entangled with a nasty legal battle with Generation Now Entertainment/Atlantic Records from their debut LUV is Rage 2 until the sophomore effort Eternal Atake came out in March of 2020 to moderate reception to which they admitted themselves didn’t live up to their expectations & followed it up a week later with the far superior Lil Uzi Vert vs. the World 2 that spawned the deluxe version trend where artists would drop a “deluxe version” of their newest project that’s basically an entirely new album. Red & White last summer was a solid prelude in it’s own right, but is ending the first half of 2023 by finally unloading The Pink Tape.

“Flooded the Face” is a cloudy trap opener produced by Don Cannon calling back to the intros of both LUV is Rage projects refusing to pump the brakes along with clapping back at those questioning their sexuality whereas “Suicide Doors” is a trap metal banger that Brandon Finessin’ cooks up talking about feeling like The Crow & it’s a shame that Playboi Carti isn’t featured on it because I can definitely imagine him over this instrumental, but it’s still hard as fuck nonetheless! “Aye” featuring Travis Scott finds the 2 looking to go harder over some strings & hi-hats from BNYX of Working on Dying just before “Crush ‘Em” talks about smashing like road rage & being a player over an airy trap beat with co-production from Cubeatz & WondaGurl.

Moving on from there, “Amped” wants everyone to witness them go “amped” as Bugz Ronin fuses trap with rock once more leading into “x2” becoming an early favorite for me from Uzi’s infectiously pop rap performances about this shit being cray to the futuristically wobbly beat from both Cliffshayne & Ken Carson. “Died & Came Back” on the other hand has more glistening trap vibe feeling as if they’ve been resurrected, but then “Spin Again” talks about spinning bitches works in some synthesizers & booming sub-bass from Brandon Finessin’. Also note worth noting the Ice Spice reference during the verse that caused JT of the City Girls to flip on Uzi not too long ago.

“That Fiya” points out the .44 Magnum that they have on them accompanied by these electro synths & hi-hats while “I Gotta” gives off a more triumphant approach thanks to Outtatown talking about their ridiculous new whip. “Endless Fashion” featuring Nicki Minaj finds the 2 joining forces for an official song excluding the remix to “The Way Life Goes” (O.G.’s better). But in all seriousness, the actual music isn’t all great as they pretty much butcher Eiffel 65’s best song “Blue (Da Ba Dee)” almost as bad as Bebe Rexha & David Guetta did on “I’m Good (Blue)” last summer. However, the Republican doctor bar was funny even though both wings are on the same bird personally. “Mama, I’m Sorry” though is an improvement with it’s tropical trap beat & lyrics apologizing to their mother.

Meanwhile, “All Alone” vents about relationship struggles with a shoutout during the 2nd verse & Don Cannon bringing back that old playful Lil Uzi Vert vs. the World/The Perfect LUV Tape sound while “Nakamura” named after former 3-time IWGPヘビー級チャンピオン, 5-time IWGPインターコンチネンタルチャンピオン, IWGPタッグチャンピオン, 2-time NXT Champion, 2-time WWE Intercontinental Champion & 2-time WWE United States Champion 中邑真輔 talks about becoming too focused when it comes to the cash flow sampling the titular performer’s theme. It’s also worth noting that Uzi themself have said that this will be their entrance theme for their in-ring performance at WrestleMania XL next spring.

The only single released up to this point “Jus Wanna Rock” lets Internet Money Records in-house producer Synthetic fuse Philly & Jersey Club together in a tasteful manner that will get everyone to do exactly that as they got everyone to do the first night of WrestleMania XXXIX during former 8-time WWE tag team champions The Usos’ entrance against former 2-time PWG World Tag Team Champions & ROH World Tag Team Champions Kevin Owens & Sami Zayn although the latter team walked away as 2-time WWE tag team champions that night while “Fire Alarm” delves further fusing EDM & trap talking about taking percocets.

“CS” is a cover of my all-time favorite System of a Down! song “Chop Suey” that I’ll never listen to again even though I appreciate the homage to the days of where alternative & nu metal were in their prime that is until “Werewolf” featuring Bring Me the Horizon roots itself into the band’s signature metalcore sound with Oliver Sykes assisting Uzi in talking about going deeper underground with an angelically sung hook attached to it. “Pluto to Mars” points out the fact that they could never be mistaken for a lame over a feel good trap beat while “Patience” featuring Don Toliver goes for the melodic/synth direction singing about seroquel which ironically enough I actually take to help with my insomnia.

“Days Come & Go” returns to that victorious groove declaring that their love won’t stay as time goes on while “Rehab” gives off an otherworldly vibe instrumentally talking about making sure he don’t feel no drama. “The End” featuring ベビーメタルtends to favor towards the Tokyo trio’s kawaii metal sound courtesy of コバメタル with co-production from Maaly Raw to discuss being from outer space as the secret that they’re not from this Earth was revealed on “Glock in My Purse” last summer. The song “Zoom” is a cavernous trap banger produced by Wheezy telling y’all not to call their phone while the penultimate track “Of Course” sonically has a happier mood that Oogie Mane gives off drippin’ & swaggin’. “Shardai” though sends the album off warmly staying with the bag.

We’ve waited 3 years for this day to come & I will give credit to Uzi for making Pink Tape better than Eternal Atake as a full-length album, but there are some moments that I don’t see myself going back to at all either. They take some artistic risks that come from a genuine place expanding beyond trap & pop rap in favor of rage, cloud rap, trap metal, rap rock & alt-metal with an overloaded track-listing at 86 minutes as well as 26 cuts that has more hits than misses.

Score: 3.5/5

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Renelle 893 – “Off the Grid” review

Here we have the 3rd EP from London, England, United Kingdom emcee Renelle 893. Introducing himself a year & a half earlier off the previous extended play Black Currents, he would eventually catch the attention of High Focus Records not too long afterwards & signed to the label. The historic Hove, East Sussex imprint however has decided for Renelle to end their 2022 having King Kashmere fully produce Cocoa Butter & has gone Off the Grid alongside Bay29 to warm everyone up for Renelle’s full-length debut Art Thief.

“Spaghetti” featuring Vitamin G begins with a electro-tinged boom bap instrumental talking about fleeting youth whereas “Swamp Monster” jazzily speaks of climbing out the mud. “Recognize” talks about wanting to inspire brains over a psychedelic boom bap beat hoping people acknowledge his talents while “8Ball” addresses his upbringings. The title track featuring Cutta Chase references WWE Hall of Famer Mike Tyson near the backend of it & the piano-driven “Deadline” going worldwide thoroughly.

Offering an escape route from the monotony of every day life, Renelle 893’s 2nd extended play under High Focus Records albeit 3rd overall marks the first in a brand new series of collaborations to come with Bay29 & I’d still put it above Black Currents although it’s certainly behind Cocoa Butter. Bay29’s prediction comes across more ethereal than Chuck Enzo’s during Renelle’s predecessor almost a year earlier, cohesively telling a story divided in 6 tracks themed around figuring out what kind of adult he’s looking to be & navigating a world filled with distractions that’ll do everything to numb the pain as life carries forward.

Score: 3.5/5

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Veeze – “Ganger” review

This is the full-length debut album from up-&-coming Detroit rapper Veeze. Getting his start in 2019 off the strength of his debut EP Navy Wavy, he would go on to be featured on subsequent projects ranging from the likes of Babyface Ray to even Lil Yachty or more recently Chavo. So going into Ganger, my morbid curiosity got the best of me considering the strength of his feature run & the 4-year time gap since that last EP.

The synthesizers & hi-hats on the opener “Not Drill” are all well incorporated making way for Veeze letting y’all know this the real thing whereas “OverseasBaller” gives off more of a Detroit trap vibe talking about feeling like Dirk Nowitzki. “No Sir Ski” takes the atmospheric route instrumentally encouraging to cherish life before you lose that bitch, but then “You Know I” fuses g-funk with trap talking about being fresh as Hell.

“G.O.M.D. (Get Off My Dick)” has a more sample-based groove to it with the subject matter needing no further explanation just before “Sexy Liar” returns to the Detroit trap sound talking about liking the way it sounds when his girl caps to him. “Broke Phone” featuring LUCKI has a wavier feel to it as both of them saying fuck everybody pretty much leading into “7sixers” featuring Babyface Ray & Icewear Vezzo lacing these synths & hi-hats once again talking about their pockets getting fatter as their hearts grow colder referencing Tesla CEO, SpaceX founder, Neuralink founder & Twitter owner Elon Musk.

Moving on from there, “Robert De Niro” gives off a moodier trap feel calling out someone that ain’t a made man while the “Boat” interlude featuring Lil Yachty is more of an actual song & a good one at that finding the pair hopping over a Detroit trap beat in order to flex. “Tramp Stamp” goes into spacious territory talking about a hoe fuckin’ on a famous g while “Weekend” has a calmer trap tone to it declaring that this shit ain’t for the weak.

“Kinda $” brings back a moodier backdrop & layering these hi-hats over it acknowledging that this shawty knows he’s getting all kinds of paper while “Gaig” is a fun piano trap ballad going into detail about his expensive habits. “Who Da 1” fuses this jangly guitar lead & more hi-hats making it clear that you know who the fuck it is while “Unreleased Leak” blends trap with symphonic music talking about how the gang move & what crime does.

Meanwhile, “Lick” gets heavier with the synthesizers so dude can discuss having everything on him tonight hitting exactly that while “Safe 2” goes into a more stripped back direction talking about coming a long way. The penultimate song “Gangermatic” has a hazier instrumental this time thanks to Pooh Beatz venting that the streets be getting ugly & “Tony Hawk” officially ends the album on an acoustic trap note talking about continuing to grind. The “G.O.M.D. (Get Off My Dick)” remix featuring Lil Uzi Vert however serves as a bonus track & I happen to like it more than the original as dope as it is.

“Get LUCKI” starts the deluxe run by telling a bitch to give him head over synths & hi-hats while “Rich No Duh” returns to the Detroit trap sound referring to himself as the plug. “Luv the Tour” has to be my favorite bonus track of the 5 from the synthesizer-heavy beat that Evilgiane & Harrison of the Surf Gang deliver to the boisterous lyricism while the dreamy “Rich Rockstar” responds to the question of what his money looking like. “Amusing” finishes the Ganger deluxe by laying it out that y’all better be knowing what the fuck goin’ on over upbeat 808 percussion & synthesizers.

If you’re looking for a fresh new face in the Detroit trap scene, then you’re gonna want to give Ganger a listen because Veeze is most certainly in the same ranks as Face or DaeMoney & even the ShittyBoyz as one of the best artists that the 313 has seen in recent memory. He sounds recharged after taking 4 years off & more focused making way to properly introduce himself to a wider audience. On top of that, the feature list is consistent & the production is different for someone in his style.

Score: 4/5

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Coi Leray – “Coi” review

This is the sophomore full-length album from New Jersey rapper & singer Coi Leray. Growing up as the younger brother of Sosshouse Records signee Chavo & the daughter of Benzino, she began to carve a path of her own with her debut mixtape Everythingcoz along with her first 2 EPs Everythingcoz 2 & Now or Never even though they were mediocre to me personally. She then signed to Uptown Records last spring after being relaunched by Republic Records & put out her major label debut Trendsetter not too long after which had a few of her strongest tracks yet, but the bad mostly outweighed the good. But only a month after her brother dropped the final installment of the Chavo’s World trilogy, I went into Coi expecting a more personal effort obviously given the title & was hoping I’d like it more than the last album considering “Self Love” off the Spider-Man: Across the Spider-Verse soundtrack could be my favorite song of hers yet.

The opener “Bitch Girl” heavily samples “Rich Girl” by Hall & Oates so Coi can spit some average braggadocio on top of it whereas “Bops” has to easily by my favorite single that was released of the 5 that we got having more of a snap influence to it that I actually think is pretty interesting dedicating it to all her haters out there. David Guetta flipping “Pump Up the Jam” by Technotronic on “Make My Day” is kind of tacky even though I don’t mind the party-filled lyrics at all, but then “Players” is an ode to all the female hustlers sampling “The Message” by Grandmaster Flash & the Furious 5 that I’m a little 50/50 towards honestly.

“My Body” was easily the worst possible choice for a single from the tedious sample of “It’s My Party” by Lesley Gore to the half-baked songwriting & even the chorus having a cringey twist to the hook of “Pity Party” by Melanie Martinez, but then “Get Loud” co-produced by Tom Levesque of Vanguard Music Group reveals itself as a redundant successor to the Jennifer Lopez joint “Let’s Get Loud”. The quirky trap beat on “Phuck It” stands out to me although I can’t really say the same about the raunchy lyrics leading into “Spend It” featuring Saucy Santana giving off a dancier vibe talking about blowing money.

Meanwhile, “Don’t Chat Me Up” has the best feature on the album in the form of Giggs’ verse at the halfway point over a funky bass-line & hi-hats as he & Coi tell their lovers to give them exactly what they want & “On My Way” changes it up stylistically with a moody R&B ballad talking about pulling up on her mans. “Run It Up” gives off a more atmospheric approach calling herself an angel during the day & a demon at night while London on da Track cooks up the strongest instrumental of the bunch on “No Angels” featuring Lola Brooke catching licks.

“Man’s World” returns to the old school samples once again except this time “It’s a Man’s Man’s Man’s World” by the late James Brown is being flipped calling out someone for breaking her heart while the song “Black Rose” goes full-blown rap rock talking about taking this shit back. The penultimate track “Radioactive” featuring Skillibeng has a more stripped back sound to it with both of them describe a passionately strong love until “Come & Go” spaciously asks to give her flowers while she’s still here to smell them all.

Beyond that, I went into Coi hoping that she would bring the same energy that she brought onto Metro Boomin’s soundtrack debut earlier this month & came away from it liking it even less than I did than the offering she gave us over a year ago. Now that doesn’t mean I’m discrediting her talent or saying she can’t be a captivating performer. She’s proven she can that in the past. It’s that my biggest issue with her music lies within the production department.

Score: 1.5/5

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