Here we have the 12th EP from Buffalo emcee Conway the Machine. Blowing up in late 2015 as part of the 3 OGs of Griselda Records alongside his brother Westside Gunn & their cousin Benny the Butcher, the trio have had hip hop on lock ever since their arrival 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 as well as the Big Ghost Ltd.-produced What Has Been Blessed Cannot Be Cursed & Won’t He Do It, we’re now being treated GxF in-house producer Conductor Williams of The Heartbreakers fully producing Conductor Machine.
“Blessings of the King” is a soulful opener to the EP charmingly showing off how ill & fly he is whereas “Believe Me” gives of a jazzy boom bap flare to the instrumental declaring that the real is back. “Noir” works in some pianos, kicks & snares asking what exactly it is that you want from him leading into “Higher” taking a more psychedelic route to the beat talking about shit getting spooky up in here once again.
One of the first Drumwork Music Group signees 7xvethegenius joins Con for “Flame” hoping on top of a soul sample dropping some hardcore lyricism prior to “Church Fan” featuring the label’s first recording artist Jae Skeese pulling from gospel music spitting that higher power rap with his mentor La Maquina. “Love the Lord” though ends the album with some heavy vocal chops justifiably comparing his rhymebook to national treasure.
West’s Pray for Paris sequel And Then You Pray for Me is pretty much his La Maquina, but Conductor Machine is the best thing that Con has done this year in my opinion. Conductor coming fresh off his For All the Dogs production credit further showcasing why he’s one of the biggest beatsmiths today & the performances are equally consistent.
Brooklyn emcee, songwriter, producer & actor Busta Rhymes has returned for his 11th full-length solo LP. Coming up as a member of the Leaders of the New School, he would go on to turn heads in the spring of ‘92 off the strength of his verse on “Scenario” off of A Tribe Called Quest’s iconic sophomore album The Low End Theory. The dragon would see greater success as a solo artist with full-lengths like The Coming, When Disaster Strikes…, E.L.E. (Extinction Level Event): The Final World Front, Anarchy, Genesis & The Big Bang. However when E.L.E. 2 (Extinction Level Event 2): The Wrath of God dropped a couple Devil’s Nights back, it would find Busta returning to form considering the mixed to subpar reception of B.O.M.B.S. (Back On My Bullshit) & the Cash Money Records-backed Year of the Dragon. However after preluding Blockbusta last year by putting out The Fuse is Lit to mixed responses, Busta’s ringing in Black Friday put unveiling his Epic Records debut.
“The Statement” asks how many times does Busta have to remind everyone that he’s one of the greatest over a cloudy trap beat from Timbaland whereas “Remind ‘Em” featuring Quavo finds the 2 talking about running it up over some hi-hats attached to a loop with this Godly aura surrounding it. “Beach Ball” featuring BIA draws inspiration from snap music thanks to Hitmaka boasting that they blow money faster than Rozay just before “OK” featuring Young Thug details both of their lifestyles over a celebratory Cool & Dre instrumental.
Moving forward, “Could It Be You” featuring Yung Bleu brings the 2 together on top of a bass guitar explaining that the way they live is different & the bag chase is consistent leading into the funky “Luxury Life” featuring Coi Leray laced by Swizz Beatz displaying a back-&-forth chemistry from both artists getting lavish. “Big Everything” featuring DaBaby breaks down the big money & dreams that they both envision even though the instrumental doesn’t catch my interest, but then “Roboshotta” featuring Burna Boy talks about fucking everything up & Pharrell bringing a tropical vibe musically.
“Tings” aesthetically picks up where the last cut left off keeping it equatorial so Busta can boast his lyrical abilities while “The Return of Mansa Musa” gets in his warrior bag over a tribal beat that I personally find to be appropriately fitting. “Stand Up” featuring JNR CHOI dabbles with drill music a bit sampling “Gangsta’s Paradise” by the late Coolio as both of them call out those whom they initially thought were loyal individuals while “Open Wide” featuring Shenseea fuses elements of dancehall with hip hop tackling themes of romance.
Meanwhile, the woodwind-heavy “Hold Up” that Dez Wright helped Timbo cook up flexes that he be showing up on every single block while “The Hive” featuring Giggs returns to trap territory to warn everyone that’s tuning in that their killer bees do in fact sting. “Homage” featuring Kodak Black addresses going from Y.G.s to O.G.s. in the rap game with Wheezy supplying one of the best trap instrumentals on the album while “Legend” talks about everything being legendary letting her see the way he does it & the beat here is actually underwhelming.
The song “Slide” warns not to get caught up inside another trap & that he’s steppin’ over an infectiously catchy instrumental from DJ Ted Smooth while the penultimate track “Legacy” featuring his children Cacie, Mariah & Trillian is a family affair lavishly telling everyone to show them some love. Things end with a cutthroat sequel to “If You Don’t Know Now You Know” produced by Cardiak & Focus…, which was a bonus cut off B.O.M.B.S. (Back On My Bullshit.
Considering how great of a comeback E.L.E. 2 (Extinction Level Event 2): The Wrath of God was & the 3 executive producers that Busta brought in for his first major label outing in almost a decade, I didn’t really have any reason to be concerned about Blockbusta. Now that the final product is in front of us, I’m admittedly torn on it unlike that previous LP that we got during the pandemic. He returns to a more commercial sound compared to the predecessor’s rawness which I completely understand, it’s just hit or miss sadly.
The Caarnivorz are an underground duo consisting of Detroit, Michigan emcee Zitro as well as Arlington, Texas emcee Claas. One of whom is an established veteran in the wicked shit scene ranging from his own solo output to memberships with The Underground Avengers & VLNC to name a couple who’s been making himself at home with Lyrikal Snuff Productionz for the past 6 years, the other has been growing in popularity as of late after being co-signed by the Insane Clown Posse to point where I caught him live at the 2021 Gathering of the Juggalos & they referred to him as “the newest member of the Psychopathic Records family” in the liner notes of Yum Yum Bedlam a couple months later. The following summer, Zitro revealed himself as the Nain Rouge of Detroit & is now forming like Voltron with Claas for a debut EP.
After the intro, the first song “No Problems” is a dark trap opener to the EP cautioning that nobody wants to catch heat from them whereas “They Don’t Want None” talks about catching a case over an eerie loop with some hi-hats. “Too Bad” explosively calls out everyone who hates them because they’re not in their positions accompanied by a bassy trap instrumental, but then “I Want the Smoke” works in a vocal sample & hi-hats talking about being ready to go to war. “Don’t Get Involved” draws near the end of the Caarnivorz’ introductory project angrily advising that you’ll end up missing if you don’t do as the title suggests & prior to the outro, the final song “Fuck Around & Find Out” on a chaotic note expressing their desire to leave ‘em all dead at the end of the day.
I’ve been following Claas for about a decade at this point & only got introduced to Zitro during the pandemic, but I am a fan of both artists’ music & found it interesting that they were forming a duo together since they’ve never worked with one another previously on top of LSP putting it out. Unsurprisingly: CaarnivorouZ has me anticipating what comes from the Caarnivorz in the future. The production’s more trap-centered & both MCs match each other’s intensities well.
The Living Legends are a west coast alternative hip hop outfit now consisting of Aesop, Bicasso, The Grouch & Eligh, Luckyiam, Scarub & Sunspot Jonz. Forming in ‘96 with Arata & most notably MURS, it wasn’t until the new millennium where they started dropping as a unit introducing themselves on Angelz Wit Dirty Faces & following it up with Almost Famous. They returned in ‘04 to discuss Creative Differences & their previous LP the following year Classic. But 15 years after their 2nd EP The Gathering, the Living Legends are making a comeback by unleashing their 5th full-length album.
After the “Jimi is a Star” intro, the first song “Letterman” featuring Reverie is a hardcore opener produced by Trox reminding y’all where the name comes from whereas “Front to Back” featuring Brother Ali & Opio takes a groovier approach instrumentally so everyone can get the party started properly. “Baggage” dives into boom bap turf thanks to Eligh talking about something weighing down your mind, but then “Monday Morning” gives off a mellow trap vibe looking to give thanks at the top of the week.
The title track featuring Del the Funky Homosapien returns to the boom bap courtesy of Statik Selektah getting in their hardcore bag just before “Tricky” hooks up this off-the-wall trap beat pointing out the fact they tried to warn us shit can be like that sometimes. “Distance” blends these hi-hats with a nocturnal loop talking about being on the road to nowhere leading into the soulful “Money 4 Nothin’” breaking down all the ways that people be chasing the paper this day in age.
“1 Kiss” shows off a bit of sensuality to the Living Legends with the help of former Zion I beatsmith Amp Live behind the boards while “Father’s Day” featuring Atmosphere weaves some pianos into the fold alongside kicks & snares from none other than Ant of course essentially likening hip hop to a father figure profoundly. “In God’s Hands” gives off a peppier flare to the beat expressing their gratitude while “If I Was a Car” featuring N8 the Gr8 is simply perfect for blasting in the midst of driving around Cali.
The song “We Gon’ Eat” featuring Pep Love grimily displays their hunger assuring that you’re never dead if you really got that love while the penultimate track “Gettin’ Up” featuring Jay Worthy & notably Trade Voorhees behind the boards pushes near the end of the group’s comeback effort by spaciously encouraging the listener to believe in themselves. “Break My Heart” ties up the album solemnly talking about how the waves crashed down.
Wasn’t sure if this day was ever going to come but after almost 2 decades, it finally did & The Return actually could be the best full-length that the west coast alt-rap crew have done in the 25+ years that they’ve been around as a unit. The production is a mix of old & new sounds, the guest performances are primarily consistent & the septuplet all sounds happy to be together again after so long.
Vallejo, California emcee, songwriter, entrepreneur, actor, occasional producer & Sick Wid It Records founder E-40 releasing his long-awaited 19th full-length solo LP only 4 years after his last one Practice Makes Paper. However: It’s his 27th album if you don’t count Revenue Retrievin’: Day Shift & Night Shift, Revenue Retrievin’: Overtime Shift & Graveyard Shift, The Block Brochure: Welcome to the Soil, Vols. 1-3 & subsequently Vols. 4-6, Sharp On All 4 Corners & The D-Boy Diaries all as individual albums. Anyway some heads like to disrespect him, but he’s been putting it down for the Bay Area for over 3 decades at this point. My favorites in his catalog include In a Major Way, The Mail Man, The Element of Surprise, Charlie Hu$tle: The Blueprint of a Self Made Millionaire, My Ghetto Report Card & The Block Brochure series to name a few. He’s also a member of The Click with 3 of his blood relatives & the supergroup Mount Westmore, the latter of whom put out their debut album last winter. However after releasing 2 Curb Commentator EPs during the pandemic, 40’s making a comeback on Rule of Thumb.
“Lift It” encourages those to lift the plastic if it’s the shit over a somber hyphy instrumental from Rick Rock to start off the album whereas the self-produced “AYE!” hooks up these malicious horn melodies & finger-snaps warning that the law is coming asking if you hear him. “Does That Make Sense” gets on his mobb shit speaking the real just how he feels leading into the summery “GPS” featuring Larry June talking about how maybe it‘s the g in them.
Meanwhile, “The Game” returns to a hyphy-based sound saying maybe he’s doing exactly that prior to the woodwind/trap hybrid “Bay Warren Buffet” produced by his son Droop-E flexing his entrepreneurship for 2 & a half minutes. “High End” featuring B.G. who just got out of prison with Gucci Mane & Philthy Rich brings the 2 Bay emcees & both Atlanta representatives together over some synthesizers & hi-hats from DJ Daryl boasting their first class statuses, but then “Off Dat Mob” floats over this angelic vocal sample woven into a mobb beat explaining he grew up off this shit hence the title obviously.
“Green Light” featuring B-Legit finds the cousins returning to their hyphy roots detailing that it’s on site while “Water” featuring LaRussell goes into synth territory talking about how they’ll take their way. “Show You How to Do It” featuring G5, O.T. Genasis & Zoe Osama has some of the most underwhelming guest appearances on the LP despite the synths making their way back into the picture courtesy of ProHoeZak & the subject matter of showing y’all how it’s done while “Billionaire Dreams” expresses his desire to become a billionaire over a trunk-knocking beat.
To start off the 2nd half of the album, “Pickin’ Up What I’m Puttin’ Down” keeps it hyphy reminding that you’ll drown if you can’t swim while “Lemme Go” featuring Mistah F.A.B. & Too $hort sees the 3 Bay vets aggressively declaring that they can’t be held back. “I’m Just Spazzin’ appropriately gets a glimpse of 40 spazzin’ over a futuristically bouncy instrumental while “It’s Complicated” goes into smoother turf thanks to Nico Baran asking what is it that people are hooked on something getting faded.
“Pressure” featuring Bosko throws it back to the 80s sonically looking to apply pressure while “Succaz” featuring Trae tha Truth explains that it’s dark, but it’s from the heart also over a solemn hyphy beat. “Get My Life Right” featuring YoungBoy Never Broke Again gives off a melodic trap tone looking to have their lives straightened out while “Stop Actin’ Like a Weirdo” needs no further explanation over a piano-driven instrumental.
The song “The Bay” is an off-the-wall club banger laced with the help of Hallway Productionz that you might as well leave up to him to murder while the penultimate track “Lovin’ Somebody” gets on the grown man tip from the soul-heavy production to the sensual themes. “Dose of Game” ends the album by admitting that this music feel as good as the old school stuff & telling those in need of advice to play the game for what it’s worth.
I think the last time I mainly enjoyed a new album from 40 was The Block Brochure series throughout my first half of high school, as everything else since had been average or subpar since. Needless to say: Rule of Thumb is a step in the right direction. Some spotty production & guests here & there, but it makes me happy to hear him let the features they only take up 34% of the LP so he can sound more focused than he did on some of his past recent material.
Manhattan producer/DJ Blockhead returning with his 12th full-length solo LP & only 2 years since his last one Space Werewolves Will Be the End of Us All. Notable for being 1/2 of the Party Fun Action Committee, he’s also built a solo career for himself putting out his first 5 albums through Ninja Tune. But when I heard he signed to Backwoodz Studioz for The Aux & called up guests for every song, it was enough to intrigue me to cover it.
“AAU Tournaments” by billy woods & Navy Bluefinds the 2 over some jazz rap production admitting time’s short yet they’ve never taken time off whereas “The Cella Dwellas Knew” by Quelle Chris talks about too many rappers existing in the land of the lost over a groovy, whistling instrumental. “Mississippi” by Aesop Rock hooks up these jazzy horn sections with kicks & snares building upon the concept of counting the name of the titular state just before “Mastering How to Land” by The Koreatown Oddity & Open Mike Eagle has this fuzzy revered rock guitar loop talking about a new daydream making money like Tone-Lōc in FernGully: The Last Rainforest.
Meanwhile, “Lighthouse” by UGLYFRANK weaves this eerie boom bap beat into the picture getting in his hardcore bag lyrically leading into “Hater Porn” by Breeze Brewin’ & Casual finds the 2 over a organ as well as kicks & snares to spit some battle bars. “Give Thanks” by Armand Hammer says it all conceptually over a sample-based boom bap instrumental, but then “Papi Seeds” by Bruiser Wolf brings this mystically occult vibe talking about how God took his time with this an unnamed adversary.
“God is Busy” by AKAI SOLO goes drumless with this guitar loop admitting that he’s eager to downsize his inventory even though that’s a whole different story of it’s own while “Ponzu Sauce” by Aesop & Breeze has this uncanny groove to the beat with it’s title originating from a line at the beginning of the Syosset wordsmith’s verse. “Sad Vampire” by Brian Ennals talks about puppies not turning into wolves or kittens turning into lions either over a boom bap instrumental with a high-pitched vocal sample while “Gargamel” by Defcee & ShrapKnel goes into cavernous turf referencing a 1-legged evil wizard.
The song “Pink Lemonade” by RXKNephew brings out his Mr. Been Ballin’ persona accompanied by a shimmery trap instrumental while the penultimate track “1970’s Post Apocalyptic Skin Flick by Creaturenomics & Fatboi Sharif ruggedly talks about the Glock being on fire returning to the boom bap. “Now That’s What I Call a Posse Cut Vol. 56.”, feat. billy woods, Bruiser Wolf, Danny Brown & Despot ends the album with the 4 underground’s emcees over a more psychedelic beat with the best verses going to both billy & Danny.
Last time we saw Blockhead do an producer album with a predominant amount of guests had to be Free Sweatpants at the beginning of 2019, so to hear him recapture that energy & refine it was a great listening experience & has to be my favorite solo album of his in recent memory. The guests’ performances are tight as they spit in their hardcore/abstract styles over his signature sound.
Atlanta, Georgia up-&-comer tana continuing to prelude his full-length debut LP putting out his 3rd EP of the year & his 8th EP overall. Starting in 2018 as a member of the plu2o9 collective under the original moniker BabySantana, he would go on to drop his first 2 EPs Recreation! & Planet Sosa alongside his debut mixtape Quan before signining to Lil Tecca’s very own Republic Records imprint Galactic Records the next fall. But coming off his next 3 EPs n(n) as well as Santana & it’s sequel, tana rang in 2023 by making an impressive major label debut off his last EP Gaultier. But coming off London earlier this fall, tana is continuing to build up towards his first LP with Dale.
“Hi-Roller Foreigner” is a bass-heavy pop rap/trap opener asking if you wanna party with them & that he’s off the Molly whereas “5OUTH5IDE” talks about a bitch that’s so bad, that he might just lay her down over a cloudy trap beat. The song “Bet” works in a spacious backdrop & hi-hats from BryceUnknwn & Rafmade so he can flex that he’s touchin’ the motherfuckin’ stars leading into “Don’t Sweat It (No Pressure)” telling this chick not to let shit get to her head keeping the trillwave production in tact. “Models” wraps everything up by detailing his affluent lifestyle & observing how the music industry underestimates him over an ethereal n9ck beat.
tana’s been having a Hell of a year quickly establishing himself as Galactic’s best signing to date on Gaultier & with London being well received only a couple months back, I really didn’t expect anything less. Lo & behold: He went 3/3 for this year. Production wise, it’s rooted in his cloudy pop rap/trap sound & there’s a lot of passion in tana’s delivery throughout this one that should be noted.
I believe this is the 10th full-length studio album from Rochester, New York emcee RXKNephew. Noted for his use of atypical beats & his comedic gangsta raps, he’s already built quite the catalog for himself since 2019 with his last 9 LPs as well as over a dozen mixtapes & EPs. Most notably Slitherman Activated, the Shawty RXK Too trilogy, the Crack Therapy series or singles like “Slitherman Conspiracy”. I was highly impressed with his feature on former G.O.O.D. Music artist Valee’s debut album Virtuoso earlier this summer so when it was announced a couple months ago by Andrew Barber of Fake Shore Drive that Harry Fraud was producing Life After Neph, I was ecstatic going into it.
“Pebble Beach” is a soulful trap opener telling the listener to come get some drugs calling himself “Uncle Jemima” whereas “Authority Figure” featuring Valee works in some synthesizer leads & hi-hats so both of them can team up to talk about refusing to let anyone take their spots in the game. “RX Instructions” by Neph & Pap takes a more drumless route as the 2 frequent collaborators join forces getting on their g shit just before “How I’m Coming” talks about spending time with himself over a jubilant beat.
Meanwhile, “Dub 4 U” shifts into groovier territory appreciating the beauties of life leading into “All Gone” featuring former 1017 Global artist Z Money brings the pair together over a more somberly instrumental asking where it all went. “Gotta Eat” gives off a cloudier flare explaining that we all gotta survive, but then TedsBudz has the album’s weakest feature on “The Roundtable” despite the atmospheric production & the lyrics about him grinding for a minute.
The song “Fine Wine” with Valee on the hook details his lifestyle & has a little bit of a cavernous trap vibe to the beat poppin’ shit every day talkin’ his shit while “Hunnid on the Dresser” clarifying that this ain’t a love track & that he’s puttin’ it on over a tropical loop hooked up to some hi-hats. And to end Life After Neph, the closer “Top Chef Neph” mixes these finger-snaps with synths to go on the grill real quick because “fuck the microwave”.
As someone who’s been relatively new to RXK for the past few months since Virtuoso, I highly recommend checking out some of that earlier material I mentioned in the beginning because this is an excellent way to introduce Neph to someone who isn’t familiar with him by now. His signature Lil B-inspired style combined by Harry Fraud’s signature sound truly happens to be a highly entertaining match & the guest contributions are mostly consistent.
Only the Family Entertainment is a independent hip hop label based in Chicago, Illinois founded by local drill emcee Lil Durk. They eventually grew its roster to the point where Durk started showcasing his artists on Only the Family Involved, Only the Family Involved 2, Family Over Everything & Loyal Bros all to generally mixed reviews. But as the 1-year anniversary of Loyal Bros 2 approaches next month, Only the Family is looking to tell Nightmares in the Trenches.
“Nobody’s Safe” by OTF Boonie Moe featuring Rob49 is an underwhelming way to start the compilation as they jump over an uncanny trap instrumental declaring there isn’t a single soul that’s safe once they out in the streets whereas “Eyes Red” by Lil Durk picks things up by talking about pulling his Amiris halfway down accompanied by an aquatic backdrop with hi-hats. The atmospheric trap instrumental on “Posted At” by CoKilla & THF Zoo isn’t too bad even though I can’t say the same for the performances, but then “Them Ones” by Durk bounces back once more saying there’s no way he can run out of money over a cloudy Chopsquad DJ beat.
Chief Wuk joins Durk for “I’m the Type” explaining the type of people they are going for a Detroit trap vibe this time instrumentally leading into “Last One” by Doodie Lo featuring YTB Fatt refusing to talk about their last hits over hi-hats & bells. Speaking of the Detroit trap scene, Icewear Vezzo & Durk team up on “Fuck It” going back & forth with one another very well over an eerie trap beat just before “Hood Said” by solely Durk is an acoustic trap crossover talking about history repeating itself.
The song “Whatever You Wit” by CoKilla & Deeski shifts into drill turf although the subject matter of being down with whatever you’re down with is ok while the penultimate track “It’s on Me” by Booka600 talks about guts & glory always taking you to the end over a slick instrumental. “Smurk Carter” ends the comp with 1 last Lil Durk solo cut giving me a bluesy trap feeling sonically declaring money as the root of all evil.
Other than the late King Von & of course Durk, I was never that big on the OtF roster so I didn’t really expect a whole lot going into their 6th showcase effort. However, it’s probably the most I’ve enjoyed a compilation from the Chicago label. Lil Durk’s performances are obviously the best out of what the current roster has to offer with the production primarily centered around trap with drill undertones additionally being thrown in.
This is the sophomore full-length album from Boston up-&-comer Rich Amiri of the 4ersona collective. Beginning to turn heads since the fall of 2021 off the strength of his debut EP Ethereal, he would go on to follow it up with 6 more EPs before signing to Internet Money Records & introducing himself to a wider audience this past spring on the aptly titled Evolution earlier this past spring. And with only a month left of fall to go, Amiri’s returning halfway through the 4th quarter to show off how Ghetto Fabulous he is.
“No Handouts” is a cloudy trap opener co-produced by Rio Leyva talking about bossing up becoming the man now simply tryna play it safe previously whereas “I Want Everything” expresses his desire to have it all over a cloudy backdrop with some hi-hats worked in also. “Quartermill” happens to be another atmospheric trap cut flexing that he’s got $250k on him prior to “Outta There” talking about rockin’ out the show & collect the check afterwards over a glossy trap beat from solely Rio.
The rage vibes throughout “1 Call” are pretty interesting as Amiri let’s it be known he doesn’t trust anyone just before the horn-inflicted “Illuminati” addresses the claims that some of these idiots out here have been making that he’s a part of the titular secret society. “Sticks on Ready” boasts that his whole team’s too rich ‘cause someone put on his guys accompanied by a futuristic trap instrumental, but then “Troops” acknowledges that everyone knows he ain’t a fool & I love the angelic trap vibes to the beat.
“Forza” continues the 2nd half of Ghetto Fabulous by bragging about racing just like the titular video game franchise over more horns & hi-hats while the vibrant “Codeine Crazy” produced by Taz Taylor & ReidMD from Vanguard Music Group is a dedication to the lifestyle that he’s found himself involved in since making music. “Ain’t Nothing” shows off how crazy he’s been going resurrecting the trillwave aesthetics of some of the previous joints that is until “Paper Bag Tags” goes for a playful approach showing a sensual side to Amiri.
The bassy penultimate track “What It Cost” draws near the end confessing he doesn’t know anything about old money even though he’s got a whole lot of new money these days & “Kurt Cobain” wraps it all up by hooking up a trap instrumental reminiscent to that of a retro video game breaking down the ways of him livin’ large now that his music career is taking off alongside his profile continuing to increase as a result of that.
Evolution showed a lot of growth in Amiri earlier this year & as a way of possibly ending his 2023, he’s giving everyone a glimpse into his Ghetto Fabulous lifestyle & making it as consistent as the previous body of work from him. Internet Money’s production continues to bring the best out of him as he flexes his newfound fame & fortune.
