IDK – “F65” review

This is the 3rd full-length album from Bowie, Maryland by way of Clapham, London, England, United Kingdom rapper, singer/songwriter & producer IDK. Beginning to make waves in the spring of 2014 off his first 3 mixtapes profile began to significantly increase in 2017 when he signed to Williams Street Records in order to put out a 4th tape IWasVeryBad to critical acclaim. He continued the grind by putting out a debut EP IDK & Friends as well as the full-length album Is He Real? & his 2nd EP IDK & Friends: Basketball County, but the sophomore effort USEE4YOURSELF a couple summers ago was very underwhelming. Simple. however fully produced by KAYTRANADA wound up being his strongest body of work to date & was enough to have me anticipate F65 over here.

“Cape Coast” is a jazzy opener to the album about keeping it inside sometimes yet still he cries whereas “Pit Stop” admits that the last time he shed a tear was when Prince passed away 7 years ago by now with a bouncy trap instrumental attached to it. Fat Trel tags along for “Thug Tear” blends some strings & hi-hats clarifying that it’s on sight because that’s exactly what you get when you slip 10-time WWE world champion, 2-time WWE Intercontinental Champion, 5-time WWE Tag Team Champion & $7 Productions co-founder The Rock just before “Champs-Élysées” brings back the saxes & keys talking about still having to be on his hood shit when he’s on his boujee shit.

NLE Choppa’s contribution to “Salty” is underwhelming to say the least & the subject matter of making bitches bitter doesn’t really help despite the wavy trap production but after the “D.S.T.P.” interlude, “Mr. Police” works in a bare piano instrumental basically telling the feds to go fuck themselves. Jucee Froot & Saucy Santana both come into the picture for “Pinot Noir” obnoxiously sampling “My Neck, My Back (Lick It)” by Khia to deliver an mediocre ass-shaking anthem leading into “Paperchaser” talking about keeping the block hot over a reverberated beat.

“Elmina” with Tay Iwana almost as a bit of a more tropical flare to the beat making it clear that he wants to see his girl’s bodying grinding to the rhythm while “Georgetown” is a spacious boom bap ballad about being ready at anytime. “Radioactive” goes full-blown Philly club having the glocks on up with the switches & after the “Know” interlude, “Télé Couleur” fuses jazz with boom bap very well talking about his side & theirs’ never been symmetrical.

Meanwhile, “Rabbit Stew” has an intriguing dance break with a spacious instrumental discussing rather wanting to love this woman on the low while “We on Top / 850” starts off with some hi-hats & strings before later swapping out the strings with synths during the 2nd half switch-up as he & Rich the Kid talk about running shit. After the “Middle Passage” interlude, “Still Your Man” jumps on top of a bass guitar reminding that he even said at the beginning that his thoughts don’t change.

After the “St. Nicholas & 118th” interlude, the song “Up the Score” with Benny the Butcher finds both MCs calling out motherfuckers who be cooperating with the feds & that they simply tryna win out here over an orchestral beat while the penultimate track “Superwoman” is a lavish 7 minute pop rap ballad about knowing the woman of his dreams very well. “Freetown” however primarily comes off as an instrumental outro to the album with a spoken word bit at the backend of it.

Even though I still think that Simple. remains as the best thing that IDK has ever done respectfully, it’s worth noting that F65 at the end of the day will satisfy listeners for being a mature sequel to SubTRAP. The excessive amount of interludes are honestly annoying & a few performances from the features don’t quite stick the landing, but the concept of him creating a place to be free & honest where everyone is respected reminds me of the P.Y.U.N.E. concept of Tech N9ne’s 20th album Planet.

Score: 3/5

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Dropout Kings – “Riot Music” review

The Dropout Kings are a trap metal outfit from Phoenix, Arizona consisting of Adam Ramey & Eddie Wellz on the mic, Chucky Guzman & Stait Flynn on guitars, Rob Sebastian on bass & finally Joe Lana Jr. on drums & percussion. They first made their mark in 2018 off their full-length debut AudioDope & gained more momentum a couple years later with their debut EP GlitchGang, which resulted in them signing to Suburban Noize Records the following spring. And as the 2-year mark of the Dropout Kings’ new label deal approaches, they’re further cementing themselves as the future of the Spade by delivering their sophomore album albeit Subnoize debut.

“Hit Like This” sets the tone for what’s to come with it’s guitar/hi-hat tinged instrumental & the angrily delivered lyrics making sure their music be hitting you unlike any other whereas “Dark Energy” truly lives up to it’s name from the explosive trap metal production to the subject matter discussing doing what they want & not giving a fuck about the industry “Fighter Jet” almost has a bit of an old school LINKIN PARK vibe instrumentally (i.e. Hybrid Theory & Meteora) declaring themselves as the flyest leading into “Pull Up” bringing back the hi-hats & guitars talking about how they can’t lose.

However, we go into more melodic territory on “Demons” as the the Dropout Kings wish everyone would just stay in their lane just before “Lights Out” comes through with an empowering ballad about failure not being an option even though I’m not head over heels for the DED feature truthfully. The title track however follows that up with a warmongering mosh pit anthem staying grounded in their trap metal roots, but then “Tofu” blends an atmospheric backdrop with some more hi-hats & guitars talking about being unable to be held back.

“No Notoriety” continues to draw inspiration from nu-metal era LINKIN PARK as far as sound goes down to the Chester Bennington-esque hook admitting that they have to find another way to right their wrongs while “Been G.O.A.T.” dives back into trap metal territory flexing their skills. The track “Vacuum Cleaner” goes straight forward rap metal bragging about getting head in their new whips while the penultimate song “Tell Me” takes a more melodic, acoustic trap route singing about wanting to hear what their lovers think of them. “Hey Uh” finishes the album with 1-last trap metal ballad about stealing the bitches of those who be cappin’.

If you wanna hear a group blend the styles of acts like City Morgue or even fellow Suburban Noize signees (həd) p.e., then you’re gonna want to give Riot Music a listen because it further exemplifies that the Dropout Kings are the future of the spade. Eddie & Adam both make the case that they’re the best MCs in metal as they reintroduce their signature sound to a wider audience.

Score: 4.5/5

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Conway the Machine – “Won’t He Do It” review

Conway the Machine is a 41 year old MC & entrepreneur from Buffalo, New York who blew up in late 2015 as part of the 3 OGs of Griselda Records alongside his brother Westside Gunn & their cousin Benny the Butcher. Ever since the trio have rose to prominence, they’ve had hip hop on lock by their constant work ethic balancing quality & quality as well as vividly detailing their lives in the streets on top of boom bap production kin to that of RZA & Havoc in their music. Con’s full-length debut From King to a God was my Album of the Year for 2020 & the Shady Records-backed sophomore effort God Don’t Make Mistakes is the most personal he’s ever been. But coming off Organized Grime 2 & the Big Ghost Ltd.-produced What Has Been Blessed Cannot Be Cursed, the Machine is now making up for the delays surrounding his long-awaited 3rd album by dropping it ahead of a sequel later this month supposedly.

“Quarters” lets it off with a boom bap instrumental courtesy of Khrysis talking about how everyone knows the way they rock & catch you comin’ out your bitch spot whereas “Brucifix” gets on some good ol’ Hall ‘N Nash shit with Daringer dabbling with drumless bare loops talking about how neither he or West don’t rock with any of these industry motherfuckers. “Monogram” has a more luxurious approach to it expressing his desire to sell cocaine forever just before Ransom comes into the picture for “Stab Out” to smoke everybody over some pianos, kicks & snares courtesy of JR Swiftz:

Moving on to “Flesh of My Flesh”, we have La Maquina confessing it’s still hard to fathom what over done with Daringer pulling from rock music a bit with the beat leading into “Kanye” literally gives everyone something to talk about considering Hall ‘N Nash’s stellar feature on “Keep My Spirit Alive” (the original KayCyy version all day. He should’ve never fucked with it) off DONDA a couple summers ago & both of them in the studio with Dr. Dre last August around the 1-year anniversary saying he had some convos with the my 6th favorite producer of all-time that he’ll simply keep to myself over a piano instrumental from the J.U.S.T.I.C.E. League.

Jae Skeese comes into the picture for “The Chosen” sampling “Above & Below” by Charlie Steinnman displaying the strong chemistry that we got a couple months ago on their recent collab EP Pain Provided Profit prior to GooseByTheWay & Dave East sliding through for “Water to Wine”, which is an exquisite ballad that E. Jones laced for the girls that just wanna have fun. “After the “Kill Judas” interlude, “Brick Fare” acknowledges that he’s been a shooter comparing his lyricism to former 2-time UFC Heavyweight Champion Stipe Miocic alongside 2-time WWE Hall of Famer, former 16-time WWE world champion, WWE Intercontinental Champion, 6-time WWE United States Champion, 6-time WWE tag team champion & 9-time NWA World’s Heavyweight Champion Ric Flair over a spooky boom bap beat while “Brooklyn Chop House” with Benny the Butcher & Fabolous ditches the drums for a bare string instrumental talking about their progress being impossible to stifle.

The song “Tween Cross Tween” works in some kicks, snares & a flute from Graymatter saying you can play all you want as he stays grinding while the title track with 7xvethegenius comes through with a buried sample from Cozmo & G Koop talking about trying to get more cheddar even though people are envious of them. “Super Bowl” featuring Sauce Walka was the lead single to this album & ends the album with a decent trap banger produced by Juicy J dropping braggadocio.

God Don’t Make Mistakes happens to serve as the bridge to the next phase of his already decorated career that begins with Won’t He Do It & it’s a super solid look into what the future holds for him even though he never disappoints to begin with. The hooks are kinda iffy, but the production is a fine melting pot of the sounds he’s dabbled with up to this point & Con’s bars absolutely make up for it.

Score: 4/5

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Destroy Lonely – “If Looks Could Kill” review

Destroy Lonely is a 21 year old recording artist from Atlanta, Georgia who happens to be the son of former Disturbing tha Peace Records signee I-20. He’s released a total of 11 EPs since originally breaking out through SoundCloud in 2019 prior to Playboi Carti signing Lone to his Interscope Records imprint Opium Records to surprise drop the last tape No Stylist in light of a tour that he co-headlined with fellow label-mate Ken Carson last summer. However, he’s returning nearly 9 months later to drop a full-length debut & one that I hope would make the haters shut up considering that he’s already proven himself to be the most versatile Opium signing to date.

“how u feel?” opens the album with some guitars & hi-hats saying he feels fine other than needing a few more dollar signs whereas the title track follows it up with a cloudy emo rap ballad produced by longtime collaborator Clayco about being a fashion demon. “fly shit” returns to a more trap metal sound so he can flex a bit, but then “which one” shreds some chunkier riffs on top of some hi-hats thanks to Cade trying to figure out who loves him.

Continuing from there with “raver”, we have Lone over more trap metal production so he can go brazy leading into “came in wit” has a bit of a rage vibe to Y3rip’s beat talking about looking like he jumped out the ocean with all of his diamonds. “by the pound” has a more playful sound to it provided by TM88 even though he delivers one of the weaker performances on the album badly impersonating Future just before “all the time” confesses that he feels like he’s lost his mind & the instrumental here gives me an aquatic feeling for whatever reason.

“biggest problem” has a more spacious trap approach to it that Cxdy provides bragging that he’s riding around with some fly shit while “chris paul” talks about ballin’ out over a booming trap beat. “superstar” returns to atmospheric territory watchin’ the bodies fall from the swag he’s droppin’ while “new new” weaves some synthesizers into the fold talking about being the freshest whenever you compare him to everyone else in the trap scene right now.

Meanwhile, “right now” concludes the first leg of the album taking it returning to trap metal turf telling his girl he’ll get her whatever the fuck it is that she desires & “which way” starts the 2nd half with a ghostly trap beat admitting that he doesn’t have a clear as to which specific what that he’s going. “wagwan” blends some skittering hi-hats & a futuristic backdrop asking what’s up prior to “moment of silence” sampling “Your Skull’s Red” by Team Sleep talking about going harder than everyone else while “brazy girls” is a trap rock hybrid about his women.

“goin’ up” dives into more psychedelic waters tackling his continuously rising popularity that is until “passenger” shifts gears with it’s twinkling trap production talking about switching up his swag & smokin’ on Metro Boomin’ every single day. “promo” gives me a bit of a ghostly feeling as far as the beat goes so Destroy can be able to update his swag while “worth it” makes sure every second counts over a trap instrumental with a blobby bass-line

BryceUnknwn, Zodiac & y2tnb keep it rolling on the ultramodern “redlight” keeping an FN under his seat for all the fuckboys while “make sum work” brings back the guitars & hi-hats going berserk. The song “safety” flips Team Sleep yet again except it’s “Blvd. Nights” this time spending more on his protection & well-being while the penultimate track “your eyes” gets more cavernous courtesy of ReidMD from Vanguard Music Group & Internet Money Records talking about seeing himself when looking into the eyes of his raver. “money & sex” with Ken Carson though ends the album with a hypertrap jam talking about the 2 things they love.

“too damn rich” starts the deluxe by rubbing his newfound wealth in people’s faces flipping “Lucid” by slenderbodies while “spillin’” cautioning that this shit can go many ways over a trap beat giving off retro video game feels. “check the fleet” has this grungy guitar riff & hi-hats only focusing on money while “back sippin’” brings in heavier guitar work relapsing on lean referencing the greatest WWE superstar ever; Hall of Famer, 7-time world champion, 7-time tag team champion & WWE Hardcore Champion The Undertaker. “catch a kill” is a well-structured 2 parter going brazy about his top floor status & “that’s my” concludes the run of bonus tracks with a nocturnal dedication to his ride or die.

A lot of people are probably gonna complain about the 90 minute runtime straight out the gate & I’m well aware that not everyone ends up pulling off that feat, but I think Lone has enough versatility to make it stick the landing & that’s exactly the point he has proven yet again. He continues to expand his sound by dabbling a bit more with dream pop & neo-psychedelia than he’s done in the past & his performances on a good amount of these cuts are pretty fun.

Score: 4/5

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Jack Harlow – “Jackman” review

This is the 3rd full-length album from Louisville, Kentucky recording artist, producer & actor Jack Harlow. Breaking through when the pandemic started off the single “What’s Poppin’?”, this resulted in DJ Drama & Don Cannon signing him to their Atlantic Records imprint Generation Now Entertainment as well as them putting out a mediocre full-length debut with That’s What They All Say that same winter & who could forget the arduous listen of a sophomore effort Come Home the Kids Miss You last spring? However, hearing that he dropped Jackman out of the blue over the weekend was in fact surprising & thought it’d be more introspective given that the titular is his real first name.

“Common Ground” opens the album with a string-heavy instrumental compellingly tackling the divide & arrogance between white-suburban children & black children raised in poorer neighborhoods to my surprise referencing Microsoft 365 whereas “They Don’t Love It” works in a peppy beat talking about how no one is cut from the same thread as him when there are more skilled lyricists out there right now that you’re better off listening to. “Ambitious” looks back at his life in the last decade with a soul sample throughout that is until “Is That Ight?” talks about being minimalistic & grateful over a piano instrumental.

The settle vocal loop & claps throughout “Gang Gang Gang” enhance the atmosphere as Jack addresses his relationships with shitty people just before “Denver” making it clear that so many losing hope in those dreams with a jangly sample flip from FNZ. “No Enhancers” has one of the strongest beats on the record courtesy of DJ Dahi even though the lyrics about all natural women seem forced while the playfully produced “It Can’t Be” obnoxiously tries to put a finger on why he gets shits whether it be the color of his skin or the swag he has. The penultimate track “Blame on Me” samples “Blame” by Gray Hawken thanks to Boi-1da opening up about his upbringing & “Questions” soothingly ties it all up pondering all these questions in his mind.

Given the fact that Jack Harlow’s output in the past has been mediocre at best & unlistenable at worst, a lot of people including myself weren’t expecting much going into Jackman. But surprisingly, it could very well be his most impressive body of work to date even though I still come away from it torn. The subject matter is more personal & the production isn’t as tepid, but the album’s biggest cardinal sin is the amount of corny bars throughout although I appreciate him trying to be more lyrical.

Score: 3/5

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Tha God Fahim – “Dump Gawd: Rhyme Pays” review

This is the 45th EP from Atlanta, Georgia emcee/producer Tha God Fahim. Coming up 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. Now I didn’t get the chance to cover Dump Gawd Reloaded or the Sadhugold-produced Dump Gawd: Tha Knocking of Loose earlier this month, but to hear Mike Shabb fully producing Dump Gawd: Rhyme Pays was more than enough to peak my interest considering he just dropped his best EP Shadow Moses earlier a couple weeks ago.

The title track kicks the whole thing off with bare crooning soul loop with Fahim describing the way every single one of us play the game in our own different ways whereas “Cash Over Convo” takes the boom bap route with a gospel sample working in some kicks & snares to talk about every song he makes being mind-blowing as an innovator. “Fo My Peoples” blends some jazzy horns & strings making it clear exactly who he does this shit for leading into “Mr. Truth” returning to drumless territory talking about having to see it through because he’s a visualizer.

“The Dragon n The Treasure” dives back into the boom bap sound to begin the 2nd half of the EP asking to be protected by his enemies & his friends while “The League” hooks up a humming loop, horns, snares & kicks to talk about never interfering when it’s his turn ever on any circumstances comparing his readiness to that of UFC Hall of Famer, former Middleweight Champion & former 2-time Welterweight Champion Georges St-Pierre. “The Remembrance” is mostly drumless even though there are few drum that pop up in the mix occasionally as he magnifies his riches & “Crème Dela Crème” closes out the EP glamorously talking about being the best of them all at the end of the day.

Of the 3 EPs that Fahim’s given us this month, Rhyme Pays is my favorite & Tha Knocking of Loose is right behind it. If you can tell by the title paying homage to the full length debut from West Coast gangsta rap pioneer Ice-T, tha 50 tape legend himself steps his pen-game in comparison to the 2 predecessors with Mike Shabb’s production style teetering between drumless along with chipmunk soul & boom bap. Very exciting to see what May brings us from the Dump Gawd.

Score: 4.5/5

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Diorvsyou – “w.t.f.i.dvy? (who the fuck is diorvsyou?)” review

This is the 2nd EP from Atlanta, Georgia up-&-comer Diorvsyou. Coming up in 2021 off his last EP Scoreboard, it wasn’t until I saw him open up for southsidesilhouette in Brooklyn back in November where I was personally introduced to his music & I was actually impressed with his set. But considering that his born day was just a few days ago, what better way for him to give back to the fans than to introduce himself to a wider audience & enlist Zaan to oversee w.t.f.i.dvy? (who the fuck is diorvsyou?).

The title track kicks off the album with euphoric trap ballad produced by Toom of Vanguard Music Group talking about trying to hit everybody in the club whereas “mi amor” works in an angelic loop as well as some horns & hi-hats for a dedication to the love of his life. “Django” takes a more otherworldly trap route thanks to thr6x telling the coach to put him in the game because he knows the plan just before the cloudy yet bass heavy “look alike” by 4evrrthumbin’ boasts the fact that all their bitches fine.

Meanwhile, “fuck a bank” co-produced by Patrick Garza flexes having a money counter with a wavily colorful trap beat while the penultimate track “prize pick” takes a futuristic approach telling his hoe that he chose from the start to play her part cleverly enough. The penultimate track “joerogan” is a psychedelic banger of a closer that Cxdy of Internet Money Records laced making it clear to some hoe that living good these days & “throw up” ends the EP with some hi-hats & high-pitched synthesizers courtesy of Nosaint talking about classy shit.

If you’re aren’t familiar with this guy, then I think this EP should make you wake the fuck up because he just took it to a whole new level on here in comparison to Scoreboard. Zaan continues to himself to be a producer that you should keep an eye out for down the road as his production game is amongst is strongest to date & Dior’s performances are his most captivating.

Score: 4/5

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Summrs – “Ghost” review

Summrs is a 23 year old rapper from Lafayette, Louisiana emerging up as a member of the Goonie-founded Slayworld collective. He presence has been known predominantly in the plugg scene by constantly dropping projects whether it be his previous EP What We Have & Fallen Raven, both of which I highly recommend listening to if you wanna get into his music. But coming fresh off Stuck in My Ways a little over 3 months ago, Rino’s keeping things rolling by dropping his 8th full-length album & his 2nd of 2023 as of me writing this.

“Devil on My Back” is a wavy trap opener making it clear that all of his homies are about business & God helps him remain catching Ws whereas “Like Woah” takes a glitchier approach courtesy of BNYX from Working on Dying describing the neat freak in his life. “Shake It” has a bit of an EDM groove to it this time around talking about a woman feeling nobody else but him prior to “Eye 4 Eye” working in some hi-hats & a ghostly loop so he can boast lyrically.

Desire is the only feature on the album making his first appearance on the lively “Rich n Turnt” showing off their wealth & how lit they are just before “Real Goat” has a bassy trap vibe to it talking about being the best at the end of the day. “Prayer” delves into how much this Brazilian baddie he bagged is like his twin with an instrumental that has a psychedelic edge to it leading into the rubbery yet horn-infused “No Really” talking about being a prodigy.

Meanwhile, “Ball 4 Ball” finds Desire returning 1 last time for an ethereal trap banger continuing to flex on the lyrical side of things until “Got Dat Moneh” delves into rage territory addressing his riches. “Free Body” returns to a hazy trap sound telling those who’ve never seen a hundred or milli’ piece that they can’t ever speak to him, but then “Like BK” makes a turn into hypertrap territory once more giving his props to another dope artist in the rage/plugg subgenres at the current moment: Bktherula.

“I’m Paid” blends some hi-hats & ghostly background vocals so dude can keeping touching on his wealth while “Nvr Losing” is a synth-trap crossover talking about not taking an L in his life ever again. “God Like” comes through with a more ultramodern beat comparing basically talking about being as untouchable as possible & “Goty” switches it up by pulling from cloud rap a bit with his goal being to have his children get $100M in their each one of their wills.

As we reach the final leg of the album, “Meet You There” had a bit of a Travis Scott influence sonically telling this girl not to call him & simply leave him alone while “Munchkin” talks about being on top of the mountain over some more synth-based production. The song “Slowflow” hooks up some hi-hats & chilling auto-tuned vocals admitting he just wanted to hit a lab rat that his homies can have back while the penultimate track “It Get Krazy” gets bombastic for nearly 2 minutes talking about how nuts shit can get. The closer though is an sincere, atmospheric tribute to the late Virgil Abloh.

Stuck in My Ways is still my favorite of the 2 albums that we’ve gotten from Summrs this year so far, but Ghost is still worth checking it to me if you’re a fan of his in any capacity because I admire how he’s been trying to elevate my flows & sound on here as well as introducing him into his creative mind on here. On top of that, I like how it’s nearly 10 minutes shorter than last time & ditches the plugg elements in order to save them for his next body of work.

Score: 3.5/5

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Tony Shhnow – “Love Streak” review

This is the 6th full-length album from Atlanta, Georgia rapper Tony Shhnow. Being introduced to his music after my younger brother J$zpiech showed me his 4th mixtape Black Billionaires Club & the song “Vet” off the full-length debut Da World’s Ours 3, he then continued to turn heads with his 8th mixtape Reflexions to critical acclaim last summer & I honestly wish I covered it considering that some of his best songs are on there like “Finessin’” or “Forgive Don’t Forget”. He then returned to his plugg roots on the BeatPluggz produced Plug Motivation nearly 6 months ago & is already back with Love Streak.

“If It Wasn’t for Me” is a sample drill opener acknowledging that his girl wouldn’t be in love right now had he not come back around whereas “Real Rare” has a more chilled out aesthetic to the beat talking about legitimacy being scarce this day in age. “Don’t B Affraid” hooks up an R&B loop with some hi-hats so he can tell shawty that she shouldn’t worry about a damn thing around him, but then we’re treated to a sequel to “Sometimes” off Killstreak 2 that’s superior to the predecessor from the CashCache instrumental flipping “Rain” by SWV to the lyrics about how he rides around depending the given day.

Keeping it rolling, we have the Shhnowman on “Something to Remember” telling his lover that she ain’t ever met another guy like him in the past with a slickly sensual beat & Lil Crank doing a fine job with the hook just before “Need” has a more groovy vibe to it talking about the woman he’s currently seeing the only one he needs in his life. The sequel to “Time Takes” off the original Killstreak flipping the sample smoothly declaring that only the man upstairs can judge his fate leading into the tranquil “Control Issues” featuring 3AG Pilot to discuss their expensive tastes & their bitches being thick although they slim.

“On the Street” has the hardest feature performance of the entire album from MAVI as he & Tony jump on a drumless instrumental to reference 16-time WWE world champion, 4-time WWE tag team champion & 5-time WWE United States Champion John Cena while “ILY / IH8U” has a cloudier vibe teetering between being obsessed with this girl to being unable to stand her. “Unordinary Drugs” comes through with a dope ass flip of “No Ordinary Love” by Sade describing the goods as being unusual or extraordinary while “Mixed Emotions” has a calmer approach explaining that you can feel every step he takes

Meanwhile, “Touch the Sky” is a jazzy 2-minute heater to start the final leg of Love Streak encouraging his lover to open her mind & speak to him about literally anything while the song “Friends Still” with UnoTheActivist finds the 2 dominant forces in plugg music by delivering an enticing jam asking if they still cool with the significant others in their lives. The penultimate track “Reminisce” cooks up a more peaceful sound as the Shhnowman reflects & D.R.A.M. dropping the best hook on the whole album until “No Pressure” sends things off on a pluggier note acknowledging that he’s unable to stress shit.

Plug Motivation was a more than welcoming return to Tony’s roots into the trap subgenre that he helped pioneer & given the title of this new project here, I went into it expecting a more romantic side of him & that’s exactly what we got here. A couple lackluster feature performances here & there, but I also respect the amount of R&B/soul samples throughout tying into the whole romantic concept that dude pulls off naturally as opposed to it coming off as trite & forced like some other rappers normally do.

Score: 3.5/5

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Obnoxious – “Sic Audio” review

This is the long-awaited sophomore album albeit Suburban Noize Records debut from San Diego emcee Obnoxious. Getting his start in 2009 off the strength of his debut mixtape As Seen on TV, he would then follow it up 7 years later by dropping his full-length debut Jamacha. But it wasn’t until Cinco de Mayo 2020 where it was announced that Kevin Zinger had signed Obnoxious to Subnoize, where he has since formed the trio King Klick with Chucky Chuck & Johnny Richter to put out their eponymous debut EP before quietly dissolving to join forces with Madchild on the incredible collab effort Mobsters & Monsters this past winter. However as the 3 year mark of OB’s record deal approaches, he’s finally releasing Sic Audio to celebrate.

“Be Someone” is an inspiring, feel-good opener with a high-pitched vocal sample throughout talking about being on top of every other rapper out right now whereas the blaring yet dusty “American Graffiti” advises to take it easy around him. “Maniac” blends some kicks, snares & piano chords describing just how crazy he can get leading into Sick Jacken tagging along for “Legendary” talking about being anything but secondary over a Jedi Mind Tricks-inspired beat

Meanwhile on “Honor Roll”, we have Evidence working in some angelic vocals & an ominous organ for Obnoxious to talk about smoking glints 365 days a year leading into the Termanology-assisted “Chapo n Gotti” returning to the boom bap comparing themselves to the infamously titular criminals. “Starstruck” hooks up some pianos with more kicks & snares getting in his battle rap back, but then Ill Bill comes into the picture for “You Don’t Like Me” over a boom bap instrumental with an Italian sample calling your favorite rapper a bitch.

“Step Back” has this crooning loop throughout as OB talks about keeping it moving while “Powerful Forces” with Rakaa finds the pair on top of a flute/boom bap hybrid comparing themselves to exactly that. The title track weaves some more keys, snares & kicks talking about smoking your dead homie like ganja while the penultimate song “Ain’t Changed” is a more emotional ballad making it clear that he’s still the same guy. “Lift Off” then closes the album with a vibraphone heavy smoker’s anthem.

We went through a lot of delays to get to this point & I’m happy that the moment is finally here because you can really hear how much Obnoxious has grown artistically & personally since Jamacha. A more than welcoming Suburban Noize solo debut. He’s the best he’s ever sounded on the lyrical side of things & I really think the overall style of this album would appeal to fans of Cypress Hill, The Psycho Realm, JMT as I mentioned earlier & The Alchemist like myself. This is only the beginning for the San Diego wordsmith.

Score: 4.5/5

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