Tommy Evans – “Van Goth” review

This is the 4th full-length album from Leeds, West Yorkshire, England, United Kingdom emcee Tommy Evans. Breaking out with his debut EP Time Capsule & the follow-up 4 Elements, he would then go on to release his first 2 albums The Turbulent Times of & New Year’s Revolutions before taking a 16 year sabbatical from the music industry. DJ Agent M was brought in for Tommy’s comeback effort Antifragile in the midst of the COVID lockdowns & is returning 3 years later by enlisting The Cat Burglar to fully produce Van Goth.

“Crude Oil x Kool Aid” is a chilling boom bap opener finding the UK hip hop veteran talking about rising & wisening up whereas “80Eight” featuring Kali GLD gives off a spacious trap vibe essentially serving as a love letter to the year 1988 considering how historic it was to our culture. “Nadiya Hussain” has a more glamorous boom bap vibe talking about being born to get cake just before “I Still Love H.E.R.” works in a playful loop with these kicks & snares paying homage to the iconic Common single “I Used to Love H.E.R.”

Meanwhile, the vibraphones throughout “Carpe DM” are really cool as he boasts that he was born to be the greatest leading into “Nocturnes in Neon” switching it up with a hypnotic trap beat talking about not wanting to be awaken from the dream that he’s having. The song “You” returns to that old school boom bap sound once more telling us that’s exactly all he sees, but then “Change is Now” is a more mystical ballad encouraging listeners to say it out loud. “Life is Art” rounds out the album with more vibraphones, kicks & snares making comparisons between the 2.

Antifragile was a solid comeback for Tommy, but Van Goth is more of a change of pace for him & I think one that find themselves enjoying. Quite possibly my favorite album of the 2 that he’s put out in the 2020s as me of writing this. You can definitely that it’s slightly more darker in comparison to this signature soulful sound yet there are moments where he displays genuine hope, jokes & joy amidst the abstract lyricism, socio-political commentary & deep reflection.

Score: 4/5

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Rico Nasty – “A Nasty Summer” review

This is the 2nd EP from Maryland recording artist Rico Nasty. Garnering my attention in 2018 of her 6th mixtape Nasty, I was still very much impressed by her unique personality & her eclecticism although it was just ok. However the next spring, she got Kenny Beats to produce her debut EP Anger Management in it’s entirety & that ended up being my favorite body of work of hers even to this day. Nightmare Vacation was a bit of a step down from Anger Management even though it has a good share of bangers like “iPhone” & “10Fo”, but Las Ruinas showed a more experimental side to her & is preluding her sophomore effort in the form of A Nasty Summer.

“Turn It Up” is an aggressive trap opener produced by 100 gecs about never paying attention to a hatin’ ass hoe while the sped-up version of “Pussy Poppin’ (I Don’t Really Talk Like This)” is completely pointless & that’s coming from someone who considers the original to be another Nightmare Vacation highlight. The song “Dirty” gives off a more dissonant vibe talking about how her man likes everything while the penultimate track “Countin’ Up” finds Kenny Beats drawing inspiration from The Neptunes with the instrumental airing out bitches on her dick. “Big Titties” featuring EARTHGANG though closes the EP by rambunctiously talking about seeing their dreams vividly with co-production from Baauer.

Although not as good as Anger Management, I will say that A Nasty Summer is definitely still worth the listen for anyone who enjoys Rico’s music as much as I do. Only a couple redundant cuts throughout the 11 minute run, but the other 3 are more than enough to make up for it considering that 100 gecs & Kenny both bring the best out of her in their own uniquely distinctive ways. It’s really enough to make me keep my fingers crossed that we’re in for her strongest full-length.

Score: 3.5/5

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Concrete Dream – “It Was All a Dream” review

Concrete Dream is a trap metal outfit from New Jersey consisting of Jeremiah Mayhem, Craig Belesi Jr., John Kennedy, Juan Bang & Josh Batista. They began in 2018 with their debut EP Relationshit & then a self-titled debut album the year after that, but signed to Suburban Noize Records last summer after delivering only a couple singles since. But as the spade continues to celebrate it’s 25 year anniversary, Concrete Dream are unleashing their 2nd EP as their debut for the label.

“Catch 22” blends some heavy riffs & hi-hats together talking about hearing angels calling whereas “Pit Trap” featuring Hyro the Hero gets more abrasive as they all make it known that none of them fights fair at all. “Buckout Road” hellishly encourages people to run for their lives just before “Contagion” talks about tuning in to see them fall going into more straightforward rap metal territory.

The final leg of the EP starts off with “Called Out” returns to their signature trap metal addressing those quick to point a finger while the song “Amnesia” is a full-blown metal ballad talking about another case of memory loss. The penultimate track “Twitter” gives off a more nu metal flare discussing the cost of your hate & “Kill the Lights” is a vigorous closer talking about something being different this time.

Now if anyone loved the Dropout Kings’ latest album Riot Music that came out last month, you’re gonna want to give It Was All a Dream a listen too because these guys are in that hardcore trap wheelhouse. Jeremiah Mayhem delivers some his most captivating vocal performances & jots down some of his most well-written cuts yet as the 4 instrumentalists all play with intense ferocity.

Score: 4/5

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Statik Selektah – “Round Trip” review

Statik Selektah is a 41 year old producer, DJ & radio personality from Boston, Massachusetts widely considered to be one of the most consistent & hard-working producers in all of hip hop for over a decade now whether it be his output as part of the producer/MC duo 1982 alongside fellow Boston native Termanology or entirely producing projects for the likes of Action Bronson & Paul Wall. Even his 9 solo albums have a chockfull of bangers on them, most notably Extended Play & #WhatGoesAround…. But as the 3 year anniversary of Statik’s last full-length outing The Balancing Act approaches in a couple of weeks, he’s making a Round Trip with the 10th.

The title track by Posdnuos is a heartbreaking boom bap opener paying tribute to the late Dave of De La Soul who tragically passed away 4 months ago of congestive heart failure whereas “Historic” by AZ & Ransom finds the pair delivering coming together for a jazz rap banger talking about this latest run. “Different League” by Benny the Butcher & 1982 gives off a spookier atmosphere making it clear they’re a different breed just before “Can’t Stop” by Stove God Cook$ & Symba is a more motivational boom bap joint talking about keeping it moving with Nina Sky on the hook.

“Unpredictable” by the greatest hip hop group of all-time Wu-Tang Clan pays homage to that old RZA sound as Ghostface Killah, Inspectah Deck, Method Man & Raekwon spit 4 lethal verses leading into “Ain’t Too Much To It” by Ab-Soul, Bun B & Conway the Machine is a somber boom bap ballad with the title saying it all conceptually. “Life & Times” by Joey Bada$$ blends these rich keys with kicks & snares talking about being perfect even though he’s not always right, but then “Droppin’ Bodies” by Millyz has to be one of my favorite songs of his yet with the smooth boom bap instrumental & lyrics displaying his cinematic lifestyle.

Meanwhile, we have Cormega & M.O.P. linking up on the warmly produced “It’s Different” with some jazzy undertones making it clear that this is business while “Lion Hearted” by Boldy James & eLZhi finds the 2 motor city wordsmiths over a more spacious boom bap beat justifiably talking about having flows like no tomorrow. “The New Joe” by NEMS is more sample-based as the Fuck Ya Lyfe general dropping some cutthroat battle raps while “1 4 Ages” by Tha God Fahim whips up a colorful instrumental so the Dump Gawd can talk about not slowing down to chase greatness.

Kota the Friend & Marco Plus hop on top of some kicks, snares & sumptuous pianos for “Right Here” making sure they have shit on lock & even though the vibraphone-inflicted boom bap production on “Limbo” is gorgeous, Russ sounds like a Great Value J. Cole even though I genuinely appreciate him discussing trying to evolve like he did on CHOMP 2.5 last month as decent as that EP was. “The Code” by Lukah, Reuben Vincent & Rome Streetz talks about living & dying by exactly that over a cozy jazz hop beat while “Got 2 Give” by redveil speaks on giving everything that he has with a catchy sample & his infectious performances.

“Vanilla Sky” by G-Eazy has a bluesier boom bap flare to it saying it’s been a minute since he’s decided to chill having a dream of living wealthy while the song “Factory” by IDK has a groovier vibe to it telling y’all not to disrespect him with all that talk. The penultimate track “In the Pocket” by Logic goes chipmunk soul comparing his lyrics going at your dome like an 8 ball prior to “Full Circle” by the Showoff Crew ending the album talking about having their best friends in the end over another vibraphone heavy instrumental.

As someone who’s been listening to Statik since his adolescence, I have a strong feeling that Round Trip will quickly become one of my top 3 solo albums of his because I find myself really enjoying this more than his last few even though they most certainly had their highlights. The Boston veteran’s production gives off a more summer vibe to his signature jazzy boom bap sound & the guest list is incredibly tight although a couple punched under their weight.

Score: 4/5

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7xvethegenius – “The Genius Tape” review

7xvethegenius is a 33 year old MC from Buffalo, New York emerging off her first 2 EPs The Calm Before & Self 7xve as well as the full-length debut 7xve is Love. However, it wasn’t until she & Jae Skeese both became the first artists to sign with Conway the Machine’s very own EMPIRE Distribution imprint Drumwork Music Group where 7xve got her biggest break yet. She has since preluded her sophomore album albeit Drumwork debut Death of Deuce with Thy Will Be Done & Self 7xve 2, but is teaming up with DJ Green Lantern for her debut mixtape.

“Meditation” is a spacious opener to the tape reminding that she’s the illest bitch out here today whereas “Biddy Mason” goes into shimmery boom bap turf talking about being right here with this army behind her for those trying to disarm her. “Back End Developer” gives off an uncannier vibe saying it’s time for her to talk her shit on these records that is until “Brainstorming” featuring Conway the Machine finds the pair strategizing on top of some chilling background vocals.

After the “AA Speaks” interlude, “Brain Food” dives into quirkier turf sonically so 7xve can tell everyone to look at who she was then & who she is now today just before “The Feel” gives off an atmospheric edge this time around talking about trying to show love. The song “Lost on Mars” is a desponding ballad of a man that loves the streets more than her while the penultimate track “Moon Walk” featuring T.F. returns to the boom bap pulling up as if they were surfing, but then “Neck Protected” featuring Che Noir & Rome Streetz ends the tape some pianos hooked up to kicks & snares as all 3 of them can deliver lyrical annihilation. I also really like the nod to “Da Rockwilder” during the hook too.

For a mixtape preluding her upcoming sophomore full-length effort, The Genius Tape has to be my favorite 7xve project to date & I can only imagine Death of Deuce taking it up a few levels whenever the time comes. She’s already proven to be one of the most skilled females in recent memory, but DJ Green Lantern’s production is more consistent than her last 2 EPs with all respect & the features are all well picked out.

Score: 4.5/5

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Kura – “Born Seditionary” review

Kura is a 20 year old recording artist from Detroit, Michigan who originally got started under the moniker Blockboy K & even went to high school with my younger brother UnreleasedSnip during their freshman year. Not only has he gone on to drop a total of 3 EPs & a mixtape since 2018, but he’s also caught the attention of South Carolina recording artist/producer Pi’erre Bourne after signing to his Interscope Records imprint SossHouse Records a year & a half ago. Frazier Trill just dropped his sophomore album Still Trapp’n last month as did Chavo & Sharc with Chavo’s World 3 & Sharc Wave respectively, but Kura’s next in line for a full-length debut produced by his mentor only a week after J Billz made his case as the Streetz Hottest Young’n last Friday.

“Arriving” is a cloudy trap opener to the album addressing his arrival to the rap game whereas “Bapes” featuring Chavo goes into more pluggier territory as both of them encourage y’all to simply hop out of bed & do the shit that you want to achieve. “Donations” continues from there in the form of a vibrant pop rap ballad laced with braggadocio, but then “Hold It Up” fuses elements of trap & rock together so he can talk about breaking out of the box they tried to keep him in.

Meanwhile, “Bachelor” comes through with a wavier flare to the instrumental as K flexes that it’s like he loses weight every single time he goes out to shop just before “U Ain’t It” works in some horns & hi-hats so he can talk about the way he’s living these days. “Nightmares” gives off a moodier trap sound comparing his significant other to a movie scene that he can watch all day leading into “Widebody Kit” hooks up a bass-line & more hi-hats talking about making waves even though everyone thought he was a joke when he was 15.

“Switch” goes into a more synth-based direction so he can tackle themes of romance while “Waves” returns to cloud rap territory talking about shaking up the game every time he drops. The beat on “No Rules” is kinda trippy as he discusses living life feeling fine while the song “Born Dis Way” brings back the hi-hats & synthesizers saying everything he does is big. The penultimate track “Saving Grace” has a more peppier tone instrumentally putting all bullshit to the side prior to “PunkParty” wraps things up by pulling from plugg music 1 last time declaring that the young & rich are in the party.

Being a Detroit native myself, it makes me really happy to watch one of the best producers in the modern era like Pi’erre take a local artist like Kura under his wing & I’ll even argue that it’s better than all of those earlier projects he gave us to get to this point. Much like Streetz Hottest Young’n, we have a better look at who the Blockboy is both personally & artistically backed by production that humbly blows his previous work out of the water.

Score: 3.5/5

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Bizarre – “He Got a Gun 2” review

This is the 6th full-length album from Detroit, Michigan emcee Bizarre. Emerging as an original member of the now defunct D12 led by the late Proof, he was also among the first in the crew to put out solo efforts with his 1998 debut EP Attack of the Weirdos being a hometown classic in my eyes. Fast forward 7 years later, Biz followed it up with a worthy full-length debut Hannicap Circus & has continued to put out music on his own since, with the last time we heard him being his 11th mixtape 18159 Stout during the first quarter of the year. But to commemorate the 1-year anniversary of the Foul Mouth-produced He Got a Gun last weekend, they’re reuniting for the sequel.

“Outlaw” is a boom bap opener declaring himself as such whereas “Security” works in some more kicks & snares with a chilling loop talking about pulling up to the spot with bats & guns. “Doing Drive By’s” gives off a more subdued boom bap tone so he can portray images of driving around spraying the gats prior to Rah Digga coming into the picture for “Eastern Market” hooking up these kicks & snares with some harmonious vocals hanging in the background to remind y’all that this is hip hop at it’s purest.

Meanwhile, “Show in Phoenix” gives off a desponding feeling so the idiotic kid can tell everyone a crazy story that occurred in 2018 just before 3 Shooters” featuring Fat Ray & Piff James continues with a gully boom bap ballad firing shots at their opposition. “80 Shots” featuring J-Classic gives off an uncannier sound as both MCs display an fascinating back & forth chemistry with one another aggressively thirsting for blood, but then “Tube Socks” returns to the boom bap with a cloudier edge to it this time around figuring out why he even bothers at this point.

“1-800-Suicide” is a rugged dedication to all the misfits & drug addicts out there leading into “Cafe Mahogany” featuring Boog Brown, Dango Forlaine & Nick Speed finds the 4 motown lyricists over a dreary boom bap beat talking about getting blowed at night. “Blow Your Head Off” featuring NEMS hooks up a grungy instrumental with some kicks & snares talking about shooting heads off bodies while “Checkmate” featuring RJ Payne is an organ/boom bap hybrid referring to themselves as the next greats.

Moving on from there, “Sumpter” featuring Kain Cole gives off a jazzier vibe saying if you don’t know, you really don’t need to while “Piece of Shit” details his personality a bit over a boom bap beat with a catchy loop. The song “Show in Phoenix, Pt. 2” reuses the instrumental from the predecessor so Biz can expand on the story that he told earlier on the album while the penultimate track “Show Off” featuring Nature gives off a more colder sound as both of them boast on the lyrical end. The outro ties everything up with a gritty boom bap joint saying fuck a ghostwriter because he writes for the ghost.

I still maintain that He Got a Gun is on par with Attack of the Weirdos & Hannicap Circus as Bizarre’s best solo efforts, but He Got a Gun 2 could be a tad bit better than the predecessor we got last summer. He & Foul continue to expand on the hardcore lyricism & boom bap production that made their previous album so great with every feature knocking out of the park as opposed to a couple missing the landing a year ago.

Score: 4.5/5

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Dillon – “Uncut Gems” review

This is the 6th full-length album from Atlanta, Georgia based emcee, producer & engineer Dillon. Coming up under the original moniker Intellekt, he would properly introduce himself in ‘07 with his debut mixtape Uncut & enlist Paten Locke for the debut Studies in Hunger a couple years later. Dillon would go on to follow this up with a sophomore effort Food Chain alongside On Their Way & The Tails of Lobsterdamus respectively, but is looking to come off the J57-produced ‘83 Kids by unearthing some Uncut Gems with Diamond D of D.I.T.C. behind the boards.

The title track is a smooth, luscious opener as he & Diamond declare the return of the prophet & the prince picking back up where they left off whereas “Pick Up the Pace” delves into jazzier turf encouraging everyone to begin moving/working faster with an energizing hook. “Comin’ Out Swingin’” featuring eLZhi continues to being in the jazz calling themselves the undisputed heavyweight champion of the world prior to “Turn the Heat Up” blends these kicks & snares with a bass guitar so dude can apply pressure lyrically.

“Pardon Our Dust” featuring Planet Asia & Ras Kass expands on the boom bap vibes of the predecessor swapping out the bass licks in favor of some pianos talking about some adjustments that’re required to be made leading into “Just Breathe” featuring Slimkid3 goes for a more synth-based direction reminding to simply take a breath whenever you’re feeling stressed. The song “Devil in a Blue Dress” pulls together a hi-hat & some horns talking about a deal he made while the penultimate track “Overtime” gives off a more old school sound trying to be the first one in & the first one out. “Permanent Scars” though closes the album in the for of a mellow boom bap talking about the exact impression left.

Considering that Black Tie Affair wound up being my favorite Dillon EP in the fall of 2017 & of course Diamond D’s verse on “Come Up”, it only makes sense for them reunite throughout Uncut Gems as the end results quite possibly make it the Full Plate Records founder’s strongest album yet. His pen-game is a cut above ’83 Kids as the production from the Diggin’ in the Crates co-founder slickly meshes some old & new aesthetics together.

Score: 3.5/5

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Jamil Honesty – “The God’s Honest Truth” review

This is the sophomore full-length album from Staten Island born albeit Baltimore based emcee/producer Jamil Honesty. Getting his footing in off the strength of his debut mixtape Verses, he would go on to build a name for himself but putting out 3 EPs & a full-length debut serving as a sequel to one of the EPs that Hobgoblin produced. However, he’s coming fresh off the Harbor Kidz’ self-titled debut by enlisting Krazyfingaz to produce The God Honest Truth.

After the intro, “Better Days” starts off the album on a solemn boom bap note taking his mom’s word on her telling him when he was younger that brighter times would be ahead whereas “Empower” goes into soulful turf talking about how it’s crazy that a conversation can emancipate somebody. After the first “Conversing” interlude, “Pray” featuring Ke Turner works in another soul sample so both of them can make it clear that’s all you need to do just before “Unknown” brings back the kicks & snares pondering if anyone really knows the truth or if they like to have it presented to them in a fabricated manner.

After another “Conversing” interlude, “Reflections” featuring Josiah the Gift gives off a bit of a jazzy boom bap flare to the instrumental this time around to reminisce leading into “Wake Up (Spread Love)” shifts gears with a more delicate beat talking about having to do it ourselves. “Self Condemnation” featuring Sistah D has a grimier edge hoping everyone’s listening to their message & the final “Conversing” interlude, the song “Running Out of Problems” talks about how’s feeling over a smooth loop with some kicks & snares. The penultimate track “Blessings” featuring Cayoz da MC has a bassier groove discussing their benedictions & “Stair of Echoes” featuring eLZhi ties up the album on a dustier note tackling depression.

It’s been a minute since Jamil’s dropped a solo effort & I genuinely believe The God Honest Truth ranks amongst the strongest in his discography behind Martyr Musik alongside Martyr Musik 2: The Kingdom. He demonstrates his range & depth more by being more personal on the lyrical end of things as Krazyfingaz cooks up what could possibly be his rawest batch of beats yet.

Score: 3.5/5

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Elevated Focusion – Self-Titled review

Elevated Focusion is a producer from Queens, New York who initially emerged in the underground under the moniker Jonny Rythmns dropping a handful of beat tapes such as Slow & Steady or The Sinthmeister. But after changing his name earlier this year, he’s looking to further introduce the new him to the underground by cooking up a full-length debut album of his own that’s primarily instrumental even though it’s most certainly worth pointing out the small handful of vocal performances from a few featured recording artists.

“Elevation” by Brigid Bites is a trippy opener to the album as she raps about climbing to the top of the mountain whereas the beat on “Stolen Time” by Bassiedee & Larissa Almeida feels like something out of an acid trip in a good way as both of them give off a more melodic delivery clarifying it’s not the end as they will find love again. “Yoko Loko” is a fresh little instrumental cut pulling from electronic dance music & after the “Amplifeyed” interlude, “Mind Frames” blends these chopped up operatic vocal samples with kicks & snares.

Continuing from there, “Waltz into the Wilderness” dabbles a bit with spoken word a bit over a hair-raising backdrop taking you through the jungle that is until “Late Night Dive” gives off a groovier feel & Katie Burke’s singing here is are provocatively passionate talking about needing to look out for herself. “Trypnotica” perfectly lives up to its name as a 105 second instrumental piece pulling from trap & psychedelia prior to “Natural Born Scumbags” pulling from dance once more.

“Tabla Tea Party” by EIMAS & Vincenzo Nocerino mixes some tablas with synthesizers declaring to be both the bullet AND the gun while “Stained in the Zone” delves further into a more futuristic sound. “About Today” by Day Vision resurrects the dance vibes singing about gazing in the mirror expecting to find herself & looking for help while the song “Psychodelicate” by Brigid Bites turns into trap turf bracing herself for a bad trip. The penultimate track “Trance Bender” gives us 1 last EDM joint & “Lost Time” ties things up entrancingly.

He’s come a long way from those early beat tapes & this eponymous debut album takes his career to the next stage in an impressive fashion. His production here is more genre-bending as he combines his love for New York culture & all genres of music but at the same time providing a place where the outsiders & insiders can meet through music & clothing representing creativity, originality, counterculture, passion, and the moment of change.

Score: 3.5/5

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