Ant Dog – “Sadistic Symphony” review

Ant Dog is a 35 year old MC from California City, California notable for being 1/2 of Madopelli along with having a couple solo albums under his belt so far in The Devil’s Deal & Here 2 Stay. Madopelli wound up signing to Lyrikal Snuff Productionz a year & a half ago with their last couple LPs both going on to become the best of their careers, so it makes sense for Ant Dog to put out his 3rd solo effort through LSP coinciding with M.A.D putting out the eponymous M.A.D (Me Against Death) later this weekend also.

After the intro, the first song “Sunday Service” is an organ-laced trap opener talking about taking a crucifix to your neck whereas “Sacrifice” featuring Scum works in some strings & hi-hats so both of them admitting memories of the past brings them to their knees sometimes. “World with No Sun” dabbles with trap metal talking about rolling with the lost & the lead single “Lifeless” by Madopelli joins forces for a wickedly off-the-wall banger.

“Stay Away” hauntingly asks if you can help him get through this maze called life over more hi-hats prior to the futuristic “Death from Above” flexes that he’s been puttin’ in work. “Blood Remains” experiments with trap metal once again to talk about the silence getting us nowhere in the end, but then “Poison” reunites Madopelli once more fuses heavy guitars & hi-hats seeing the darkness in one’s eyes.

Str8 Krazed joins Ant on the orchestral/trap crossover “Feel the Same” talking about the fact that they don’t know why they act the way they do while the morbid “Damned” featuring Bloody Ruckus morbidly finds the 2 clarifying that everyone’s damned anyhow. The final song before the outro “Come Home” featuring Rozz Dyliams finishes Sadistic Symphony with heavy guitars talking about surely running out of time.

The Devil’s Deal & Here 2 Stay both stand as fine examples of what Ant Dog is capable of doing on his own, but Sadistic Symphony really takes it to the next level as his most well-crafted body of solo material thus far & M.A.D (Me Against Death) tomorrow will surely do the same. Improved production, he shows his artistic versatility & the features all bring their own freshness to the table.

Score: 4/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

Roc Marciano – “Marciology” review

Long Island emcee/producer Roc Marciano has returned with his 11th full-length studio album. Starting out in the very late 90’s as a member of the Flipmode Squad, he then went solo in 2008 to drop classic albums that would pave the way for those like Griselda such as Marcberg & Reloaded. He would begin focusing on producing projects for other artists like Flee Lord & Bronze Nazareth following Mt. Marci but after enlisting The Alchemist to produce The Elephant Man’s Bones which I gave a perfect score, we’re being taught Marciology.

The self-produced title track is this ominous opener reminding that he done brought game to the rap game whereas “Goyard God” works in these luxurious piano chords thanks to Animoss so he can shit on everything. “Gold Crossbow” keeps the exuberant boom bap vibes going boasting he has more style in his small toe than your whole torso leading into “True Love” going into soulful turf for a dedication to all his ghetto homies.

“BeBe’s Kids” brings a groovier approach instrumentally talking about others not digging your style because shit’s foul while the crooning “Bad JuJu” featuring Larry June strips the drums courtesy of Uncle Al breaking down to the rich lifestyles that they both live. “Tapeworm” brings a symphonic vibe to the beat talking about being too high class to work with purse snatchers & he is if we’re being honest with ourselves here, but then “Killin’ Spree” featuring Crimeapple brings the 2 together over a rock sample painting images of the gangsta life.

Meanwhile on “Went Diamond”, we have Marci over more strings teaching those who don’t know by now that their worst enemies be their own pride & ego just before “Higher Self” featuring Flee Lord & T.F. yet again builds itself on operatic sampling talking about leaving bullets flying even through your grandma’s room referencing WWE Hall of Famer, former WWE United States Champion, WWE Intercontinental Champion & WCW World Tag Team Champion Rick Rude. “LeFlair” ruggedly breaks down doing everything from scramblin’ to pimpin’ & panderin’ while “On the Run” featuring Jay Worthy having this infectious vocal flip talking about always being on the lamb.

“Larry Bird” featuring GREA8GAWD & Knowledge the Pirate draws near the end of our Marciology lesson with these jazzy woodwinds throughout referencing the titularly iconic Boston Celtics player of the same name that is until “Floxxx” concludes the album toning down the jazz influences talking about never losing his touch, which he hasn’t.

Marc always comes correct whenever he puts out new music and although Marciology isn’t flawless like The Elephant Man’s Bones was, anyone who’s familiar with his discography should know what they’re getting themselves into by now. The production is mostly drumless with additional undertones of boom bap & jazz rap very much like the predecessor charismatically spitting that illustrious pimpire shit.

Score: 4.5/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

Mooch – “Roc Star” review

This is the 6th full-length LP from Rochester emcee Mooch. Breaking out as a part of Da Cloth, he would catch my attention off the Futurewave-produced debut Boss Sauce & his collab effort with Rigz produced by Big Ghost Ltd. called The Only Way Out. It’s been quite some time since I last discussed Mooch’s music since I covered Da 5th Power over 3 years ago, but knew Roc Star was going to be his masterpiece after learning DJ Muggs was fully producing it.

The title track starts off on the epically drumless tip talking about being a top dog at this point in his career whereas “Soul Screaming” takes the luxurious approach instrumentally likening his literal soul screaming similarly to how the 70s been. “Uncut Hope” has this rawer boom bap flare to the beat bragging that his shit been dope leading into “Trumpets” working in more kicks & snares into the picture requiring to make the discussion if you wanna make it out of the trenches.

“Belly” brings a jazzier flare to the table lookin’ awesome sparkin’ in the dark while “Mooch Moses” returns to the boom bap talking about selling the water that Jesus had turned into wine. The triumphant “It Ain’t Ready” flexes that it’s 31 grams of this oil & noting it’s quite heavy while “Walk Yours” featuring Rigz goes into soulful turf as both members motivate you to shrug off anyone hating on your progress.

Meanwhile on “My Shit’s Beautiful” has these killer guitar riffs throughout as Mooch justifiably brags about just how beautiful his shit actually is while “M.A.V. x Mooch x Times” featuring M.A.V. & Times Change finds the trio over more soul samples bring it to hard-core for literally 3 minutes straight. “Mazda” has these uncanny strings dissing those fake-racing with the God prior to the peacefully drumless “Assets & Liabilities” closing Mooch’s best LP to date breaking down the difference between the 2.

Boss Sauce has always been my favorite solo effort of Mooch’s up until this point, but I can’t deny that Roc Star has taken over that spot because this album more than surpassed my expectations. Muggs’ production here is more consistent than some of Mooch’s recent output, the man himself lyrically is at the strongest he’s been in a couple years & even the unparalleled features are well assorted.

Score: 4.5/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

Young Wicked – “Young Wicked: The Mixtape 2” review

This is the 2nd mixtape from Denver emcee, singer/songwriter, producer, engineer & fashion designer James Garcia or the artist formerly known as Young Wicked. Coming up as 1/2 of the Axe Murder Boyz with his older brother Bonez Dubb in 1999, the duo put out 4 albums on their own before before the Insane Clown Posse signed them to Psychopathic Records in 2005 & making their debut on the label that following spring by dropping Blood In Blood Out to moderate reception. However, their next full-length outing God’s Hand is considered to by many (including myself) to be their best given how much both of them elevated their lyricism & Otis’ production. This resulted in him becoming Violent J’s protege many years later, dropping his solo debut Slaughter: It’s the Best Medicine in the fall of 2015. Fast forward a couple years later, Twiztid signed Young Wicked & eventually AMB to Majik Ninja Entertainment in the midst of their falling out with Psychopathic to put out an equally fantastic sophomore effort The Return of the Prodigal Son. But after rebranding himself 3 & a half years ago on Activated which had more of a mainstream sound to it, the initially scrapped sequel to Young Wicked: The Mixtape is finally seeing the light of day ahead of his upcoming Astronomicon appearance.

“Deep” is an aggressive rap rock opener talking about the fact that they’ve been waiting for him to come out of the basement to show the underground who he really is whereas “Eternal” takes the trap metal route instrumentally admitting that he can’t rest in peace with these sick muthafuckas in the street although the heavy auto-tune on the hook just isn’t it. “No Masters (Shake da Shit)” works in these somber piano chords & sirens sayin’ y’all looking at a king coming for everything just before the rap metal-infused “Resurrected” admits to feeling darkness clouding his mind.

Meanwhile on “Shallow Grave”, we have Young Wicked on some boom bap shit taking everyone through the mind of a murderer leading into “Pushing On” blends some kicks & snares with guitars as he discusses trying to figure himself out as of lately. “Chrome” ruggedly pushin’ bars similar to the way they be pushin’ weight cautioning that you don’t want to get smoked by him, but then “Flowers” dabbles with the trap metal flare once more calling himself the goat having to be sacrificed in the blood.

The song “No Slackin’” goes for a vibrant trap approach that his pimpin’ doesn’t ever slow down while “Crucifix” returns to the boom bap reminding y’all that his last album was activism & he’s back to stabbin’ victims now. To conclude Young Wicked: The Mixtape 2, the closer “Keep Out the Cold” is this guitar ballad singing that he keeps the whiskey in his veins for the titular reason & “Coastin’” starts the deluxe run with some g-funk undertones repping MNE.

“Breathin’” cleverly references the inaugural AEW World Champion, former ROH World Champion, 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.

James blends trap & rock for “Rage” unlock the door to my vision & telling everyone listening to step inside while “The Language” talks about only speaking in hustle not giving any fucks regarding being famous. “Unbroken” enlists ScatteredBrains behind the boards telling everyone that he’s still unbroken out here & the final bonus track “Stayin’ Lit” ends with him swinging as if he’s the soon to be inducted WWE Hall of Famer Muhammad Ali.

Activated has it’s moments even though a lot of juggalos I know weren’t feeling the more commercial-approach it took, but this to me is the best thing that James has done on his own since The Return of the Prodigal Son almost 7 summers ago. It’s much more rawer than the previous LP we got from him & we still get a glimpse of his artistic evolution in the last 25 years whether it be his bars, his singing, an evolving self-produced sound or the mixing/mastering.

Score: 4/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

Beyoncé – “COWBOY CARTER” review

This is the 8th full-length LP from Houston, Texas singer/songwriter, producer, dancer, actress, businesswoman & director Beyoncé. Rising to fame in the late-90’s as the lead singer of Destiny’s Child, she eventually began her career as a solo artist in the summer of 2003 with the slept-on Dangerously in Love, but found both B’Day & I Am…Sasha Fierce to be average at best. 4 though was her best since her full-length debut, paving the way for a self-titled effort & Lemonade to become her most critically acclaimed bodies of work yet. She began a new trilogy couple summers ago by foraying into house music on Renaissance & is shooting for a new direction on the sequel Cowboy Carter.

“AMERIICAN REQUIEM” is this empowering opener asking if you can hear her or if you fear her whereas “BLACKBIIRD” featuring Tanner Adell finds the 2 over acoustics covering The Beatles joint of the same name. “16 CARRIAGES” mixes contemporary country & country soul with additional elements of Americana & country rock traversing the emotions & experiences caused by sudden uprooting due to losing innocence at an early age just before the stripped-back “PROTECTOR” featuring Rumi Carter encourages that you’ll shine on your own one day.

The a capella “MY ROSE” asks bow many times have you let yourself get you down & after the “SMOKE HOUR ★ WILLIE NELSON” interlude, “TEXAS HOLD ‘EM fuses country pop & contemporary country with stomp & holler advising to lay your cards down. “BODYGUARD” brings an upbeat approach talking about being your lifeguard on top of her being the one to ride shotgun but after the “DOLLY P” interlude, “JOLENE” serves as a homage to one of Dolly Parton’s biggest hits.

“DAUGHTER” asks God to save her from from these fantasies in my head that ain’t ever been safe ones over this haunting acoustic passages while the fiddle/trap hybrid “SPAGHETTII” featuring Shaboozey finds the 2 talking about having shooters even though they ain’t part of a gang. “ALLIIGATOR TEARS” brings a country soul vibe to the table asking how it feels to be adored & after the “SMOKE HOUR II” skit, “JUST FOR FUN” mixes guitars & symphonics talking about time healing all.

Meanwhile, “II MOST WANTED” featuring Miley Cyrus is this country pop duet riding for their partners until the very end while LEVII’S JEANS” featuring Post Malone is this warm guitar ballad that I can definitely imagine going big once summer start rolling around getting sexy a bit topically. “FLAMENCO” goes acoustic once more talking about her mind telling her to settle right now & after “THE LINDA MARTELL SHOW” skit, “YA YA” is this incredibly groovy party starter clappin’ & drummin’.

After the “OH LOUISIANA” interlude, the downtuned “DESERT EAGLE” explains that she has the titler pistol in the backseat of her car because everything really is bigger out in Texas while the country soul “RIIVERDANCE” advises to pounce on that shit. “II HANDS II HEAVEN” cloudily talks about putting the whiskey up high with only God knowing why while “TYRANT” is this dynamic 2-parter d.a. got that dope helped put together showing off her tyranny. “SWEET ★ HONEY ★ BUCKIIN’” featuring Shaboozey has to be another favorite off the album from the fun Pharrell instrumental split in 3 sections to buckin’ like a mechanical bull & “AMEN” passionately ends the middle chapter of the trilogy by asking to have mercy on here.

Country is one of those genres that I’m not the biggest fan of altogether with a few exceptions like Johnny Cash being one of the biggest badasses to ever walk God’s green Earth or even Kacey Musgraves & Wheeler Walker Jr. as modern examples, but Cowboy Carter is a welcoming tribute to Bey’s grandfather much like Renaissance was to her grandmother. The production is mostly rooted in contemporary country & country pop with additional elements of country soul, singer-songwriter, contemporary folk music, & Americana music meshed with songwriting & performances better than most country music in the mainstream today.

Score: 4.5/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

Rico Nasty – “HVRDC0RE DR3AMZ” review

Maryland recording artist Rico Nasty teaming up with Boyz Noize for her 3rd EP. Turning heads in 2018 off 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 & A Nasty Summer was kinda mediocre truthfully. That said: HVRDC0RE DR3AMZ had to be more properly conceived going into it.

“Arintintin” begins the 3-piece offering with a hip house opener talking about feeling a little cheeky & that she finna cause a scene that is until the next joint “Vvgina” asks why would she cry when she can just get high instead continuing the hip hop/EDM crossovers instrumentally. Finally, “H.O.T.” is this dubstep/rap hybrid to close out the EP as Rico makes it known that no one can fuck with her & that’s facts.

All I wanted was for HVRDC0RE DR3AMZ to be better than A Nasty Summer almost a year ago already & although it’s what we got only by a slight margin, I’ll still take it over the predecessor. It’s more focused, Boyz Noize’s production delves into electro house, UK hard house, electro, electroclash and Miami bass & Rico’s performances are a step above also. Whenever she’s ready to put out the sophomore effort, I’ll be here.

Score: 3.5/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

genre: sadboy – Self-Titled review

genre: sadboy is an Ohio duo consisting of rapper, singer/songwriter, musician & actor MGK alongside rapper & singer/songwriter Trippie Redd. Both of whom have already crossed paths with one another quite a few times over the years on tracks like “all I know”, “Red Sky”, “Pill Breaker” & “Candy”. So obviously looking back on their history of working with one another as well as the simple fact that they’re both from the same neck of the woods, one shouldn’t be too surprised by them forming genre: sadboy & putting out a debut EP.

“lost boys” unceremoniously begins with this emo-folk cut talking about how it’s just another one of those nights again whereas “beauty” takes the somber trap route sampling “Let Go” by Frou Frou dropping corny bars like “Ship across the sand like The Mandalorian”. “time travel” immerses everyone into their worlds showing a back-&-forth chemistry over a spaciously drumless beat while “struggles” goes head-on rock again whining that they’re not happy to be here.

Moving forward, “suddenly” brings that trap flare back trying to be edgy by saying that’s everyone’s alive except for them while the cloudy yet tedious “half dead” moans about being all alone. “hiding in the hills” discusses running from themselves with Satan as Ronny J mixes rock & trap just before the dreary trap cut “no more” talks about giving 0 at this point. J.I.D’s feature on the rap rock “who do I call?” is the best verse of the entire EP asking where do they go from here & the stripped-back “summer’s gone” finishes self-titled by telling y’all to let them dry & rot.

It was pretty much a guarantee that genre: sadboy was gonna come out with one of the absolute worst EPs of the year & they sure did not disappoint considering the standard that was already set by the couplet of singles we’ve gotten in over a week. The poppy trap & rock production is ok considering that both members of the duo have ventured out in those particular sounds previously, it’s just that Trippie’s performances are significantly better than the 2 & they just aren’t enough for me to keep coming back to the EP.

Score: 1/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

Vega7 the Ronin – “Kawasaki Killers” review

Queens, New York emcee Vega7 the Ronin continuing to dominate the underground releasing his 3rd album to end the first half of 2024. Emerging after enlisting Danish beatsmith Machacha to produce his debut EP The Lead Lined Wall, he would go on to land feature placement on the 5th & final installment of Ty Farris’ historic No Cosign Just Cocaine mixtape series this past February & tap in with Superiorfor his debut Sleep’s the Cousin. It’s been 6 months since the latter & Body Bag Ben is being brought in to produce Kawasaki Killers.

“Imagine That” is this dark intro referencing WWE Hall of Famer, 7-time world champion, 7-time tag team champion & WWE Hardcore Champion The Undertaker iconically defeating fellow WWE Hall of Famer, former 3-time WWE Champion, 11-time WWE tag team champion, the inaugural WWE Hardcore Champion, CWA World Tag Team Champion & TNA World Champion Mick Foley during King of the Ring VI whereas the infernal “New Jack” remembers the late 3-time ECW World Tag Team Champion & SMW Tag Team Champion of the same name on top of likening himself to Undertaker prior to marrying 4-time WWE women’s champion Michelle McCool.

Meanwhile on “Rage Against the Machine Gun”, we have Vega7 heinously making reference to former 3-time WWE Tag Team Champions & WWE Hall of Famers The APA prior to “Ghost in the Shell” featuring Body Bag Ben himself throws in a bar regarding the late WWE Hall of Famer, former WWE Champion, 2-time WWE United States Champion, 2-time WWE Intercontinental Champion, 4-time WWE Tag Team Champion, 2-time WWE Cruiserweight Champion, 2-time ECW World Television Champion, IWA World Champion & AAA Mundial Parejas Campeon Eddie Guerrero.

“The Gray Man” brings an unsettling boom bap vibe to the table comparing himself to Walter White from my all-time favorite show Breaking Bad just before the title track references AJPW世界タッグチャンピオン & WWE’s former Head of Talent Relations John Laurinaitis, who admitted almost 2 months ago that the WME Group-owned TKO Group Holdings division’s former CEO Vince McMahon held power & control over him making dictatorial sexual demands with repercussions if they weren’t met in light of the former self-booked WWE Champion & ECW World Heavyweight Champion’s ongoing sex trafficking scandal.

To get Kawasaki Killers’ last leg rollin’, “Lion Tamer” hooks up a bloodcurdling boom bap instrumental promising he can take the best rapper you know & break his spine using the aptly named object while “Scott Summer Shades” featuring Body Bag Ben again treats treating garbage like the Earth at it’s equator. “Hip-Fire” boasts him taking the cap off the pen he writes with & magma coming out of it, but then “Harley Bandanas” talks about him making music as if it’s gateway computed.

Following a Hell-&-back journey, Vega7 turns personal experiences of pain & streetwise knowledge into elevated rhyme schemes over Ben’s impeccable production paired with an enterprising tone & flow that cuts through the fog making the listing experience from the top to the bottom a declaration leaving the listener stuck between Earth & the Afterlife musically steeping into a dystopian city where the sonic mischief are the only source of salvation in a world filled with mediocrity & force feed elitism.

Score: 4.5/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

Gibby Stites – “Pariah” review

Millville, New Jersey emcee/producer Gibby Stites coming off the 4th installment of the Family Tree series with a new EP. Getting his start in the music industry over a decade ago off his first 2 mixtapes Gillmatic & Broke n Local, he wouldn’t catch my attention until performing a set during Netfest On Your Couch during the 2020 COVID-19 lockdowns. Later that fall, he signed to Majik Ninja Entertainment & I had the honor of interviewing him shortly after the deal was made public. The 13th Wonder pretty much showcased Gibby to the juggalos as Jamie Madrox’ protégé & Welcome to iLLViLLE several months later took listeners through exactly where he comes from, but decided not to renew his MNE contract to form his own label iLLViLLE Worldwide shortly after. Off Air from last summer marked his return behind the boards after 5 years & is so far my favorite thing he’s done since leaving Majik Ninja, so I was interested in Pariah after being announced a couple months ago.

The title track gets the ball rolling with a somberly self-produced trap instrumental talking about why he sets it off & that they won’t ever stop him whereas “Memory Card” works in a guitar & hi-hats admitting that he really doesn’t give a fuck about a brand. “Swerve” keeps the dreary trap vibes going hittin’ ‘em with the cold facts prior to “Real Life” featuring Lingo brings a summery atmosphere to the table talking about layin’ down more personal subject matter.

“The Business” featuring EnzoHard incorporates this orchestral sample from DJ Emaculate with kicks & snares as both of them discuss going up in the music industry essentially just before “Eastside 3.0” ominously represents the East Coast for 3 minutes. “Suffocate” closes Pariah by fusing trap & rock confessing that it doesn’t hurt him to say the space in his heart nowadays has turned vacant.

Juggalos are generally divided when it comes to Gibby Stites, yet it’s undeniable to me that this EP has to be one of the most meaningful entries in his discography. The production altogether is generally more mellow than anything he’s put out in the past & it has an interesting mental health concept throughout except it’s coming from his own perspective.

Score: 4/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

BlueBucksClan – “Biggest Out the West” review

The BlueBucksClan are a duo from Los Angeles, California consisting of DJ & Jeeezy who’ve been making themselves known in the nervous music scene by putting out a couple mixtapes & EPs alongside 3 full-length studio albums of material. All of which so far if I’m being honest ranges from ok at best to obnoxiously annoying at worst, but my interest in their 4th & subsequently final LP over here peaked since it was announced that Hit-Boy was going to be behind the boards throughout the entire duration of it.

“Forever” is a 2-minute hyphy opener calling out those who haven’t run it up yet & that nothing lasts eternally in the end whereas “Open Slot” works in a dark, sinister & menacing sound with heavy sub-basses, simple melodies & slow, sparse & slamming drums boasting that they could’ve opened up a mom & pop shop. “World Tour” goes into a synth-based direction talking about having bitches all over the globe that is until “Safe Space” brings a vibraphone-trap flare to the table telling their hoes to go do their thang.

2 Chainz joins the BlueBucksClan on the playful “Scroll” talking about driving the Lamborghini slow rockin’ designer clothes to the floor in the midst of looking for your hoe just before “Useless” takes a cloudier approach as they make it clear that even their ex-girlfriends will tell people that they’re real ones out here. “Made for the People” was a fun choice of a single suited for all the clubs out in the west coast, but then “Color Purple” gives me a bit of a psychedelic trap vibe putting their shit on huddle since they ballin’ so hard.

“Ship & Handle” has this gritty trap approach to the beat refusing to fuck with haters & that the duo done told y’all they run the globe leading into “Soul Taker” featuring Half-a-Mil has a bouncy yet somber groove instrumentally talking about bitches texting them. “Standing Tall” hooks up an organ with hi-hats hanging with some made people out here while “Fantastic” carelessly talks about their pockets big flexing these days.

The song “Don’t Count Me Out” featuring Kalan.FrFr & Ty$ is an ok banger to keep the parties going advising that none of them should be counted out at this point in their careers while the piano-drive penultimate track “Dog a Bitch” talks about knowing who the biggest dogs are around here. “Momentum” rounds out the album with 1-last nervous cut calling themselves Dodgers since they got pockets full of blue.

Artists that come to mind when talking about the nervous scene include the late Drakeo the Ruler or even Mozzy, but Biggest Out the West if anything takes the BlueBucksClan to the next level. The production is more consistent than what they’ve done previously since Hit-Boy completely refines their whole style on top of their performances improving & a minimal guest-list.

Score: 4/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!