SZA – “S.O.S.” review

This is the highly anticipated sophomore effort from St. Louis, Missouri singer/songwriter SZA. Emerging about a decade ago in the alternative R&B scene off the strength of her first 2 EPs SEE·SZA·RUN & S, she would eventually sign to Top Dawg Entertainment in the summer of 2013 & has since made herself home with the west coast label by putting out her 3rd EP Z alongside the RCA Records distributed full-length debut CTRL. But with the 5 year anniversary of the latter passing by over the summer, she’s returning in the form of S.O.S.

The title track opens things off with a stripped back instrumental from Jay Versace sampling “Until I Found The Lord (My Soul Couldn’t Rest)” by Gabriel Hardman expressing her desire to take what’s rightfully her’s whereas “Kill Bill” has a more spacious quality to it thanks to Carter Lang singing about how mature she is. “Seek & Destroy” however has a moodier vibe calling out someone who pushed her to her capacity, but then “Low” goes into trap territory talking about keeping shit on the DL.

Meanwhile on “Love Language”, we have SZA on top of an aquatic beat asking for transparency leading into “Blind” diving into more drumless turf confessing that she can’t see the things she needs & the love she seeks. “Used” returns to a more atmospheric quality courtesy of DJ Dahi singing about feeling like it’s over & something callin’ to get closer just before the seductive” Snooze” produced by Babyface & Leon Thomas III lets her lover know just how important he is to her.

“Notice Me” returns to a more trap-based sound explaining that she doesn’t need to be this dude’s lover while “Gone Girl” admits that she needs more space & security over a piano instrumental with some finger-snaps featuring co-production from Emile & Jeff Bhasker. “Smoking on My Ex Pack” goes full-blown chipmunk soul rapping about an ex of hers for 83 seconds while “Ghost in the Machine” ponders if one could distract her from all the disaster over a rich yet minimal beat.

Continuing from there with “F2F”, the guitars throughout were unexpected yet welcoming as SZA admits that she hates herself enough for the 2 of them while “Nobody Gets Me” keeps the acoustics around courtesy of benny blanco singing about being misunderstood by everyone except the person that she’s currently with. “Conceited” is a tropical trap banger acknowledging how introverted she’s always been while “Special” works in some more finger-snapping & an airy backdrop feeling like she’s a loser when I personally feel like she’s far from it considering I’ve been a fan of her music since high school.

“Too Late” has a more cloudy yet peppy tone to the instrumental as the lyrics address 2 lovers that’re dangerous for each other while “Far” talks about being unable to trust anyone & done getting fucked over with some synths & hi-hats laced together by Beat Butcha. “Shirt” comes through with an alternative R&B/trap hybrid admitting that she likes feeling lost while the Travis Scott-assisted “Open Arms” comes with a guitar-driven sequel to “Love Galore” talking about devotion.

The song “I Hate U” has some downchill/vaporwave undertones to it expressing her disscontempt for an ex in her life while the penultimate track “Good Days” is a remarkable neo-soul cut pulling from neo-psychedelia & chamber folk singing about focusing on the positives in her life. “Forgiveless” however is a boom bap closer starting off with a sample of “The Stomp” by the late Ol’ Dirty Bastard of the almighty Wu-Tang Clan & SZA calling out those disrespecting her behind her back.

Between this as well as Kendrick’s latest album Mr. Morale & the Big Steppers alongside Ab-Soul’s comeback effort Herbert dropping next weekend, 2022 has been the best year that TDE has had in quite some time. The production is more contemporary, yet her songwriting is as strong as before & her performances come off as genuinely passionate. Whether she actually quits making music or not because she’s been teasing it forever now or we get a new body of work from her at some point, anyone who loves the alternative R&B trailblazer as much as I do would consider this a welcoming return.

Score: 4/5

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Apathy – “King of Gods. No Second” review

This is the 8th full-length album from revered Connecticut underground MC/producer Apathy. Emerging only 2 decades back as a member of the Demigodz & the Army of the Pharaohs collectives founded by Open Mic & Vinnie Paz respectively, he was also signed to Atlantic Records at one point even though he eventually left due to creative differences. Since then The Alien Tongue has built up quite the solo discography on his own, with my favorites being Honkey Kong! as well as The Widow’s Son & even his last one Where the River Meets the Sea. But a year & a half later, Ap’s enlisting Boston’s very own Stu Bangas to produce King of Gods. No Second from top to bottom.

“The Kingdom of God” is a spine-tingling boom bap opener with Apathy dropping some imperiling hardcore bars whereas “Malediction” with Pharoahe Monch works in a rap rock instrumental talking about being at their breaking points. “Green Olives” has a more ghostly atmosphere to the production with it’s sample referring himself as the only white boy in the hood à la Han Solo just before Jadakiss tags along for the sinister “No Time to Waste” preparing to become homicidal.

Moving on from there with “Cry”, we have Ap providing a genuinely heartfelt motivational anthem advising that one doesn’t have to shed tears leading into Sick Jacken coming into the picture for “Face Down” returning to the boom bap with some trumpets talking about leaving motherfuckers on the pavement. “Disgusting” with Black Thought finds the 2 over a soul sample referring to themselves as the bullies of the block, but then the Esoteric-assisted “Draw Blood” ruggedly gets on their battle rap shit.

The song “1 Man Army” hooks in a unique vocal loop to declare himself as the villain that we were warned about while the penultimate track “MK Ultra” with Celph Titled sees the dynamic duo over a dusty beat wanting to turn bodies to beef stew. “The Devil’s Frequency” with RJ Payne however finishes the album with both MCs over an uncanny instrumental talking about the holy beast watching both of them.

As personal as Apathy’s last album was & the one before being more centered around Freemasonry, what he & Stu Bangas concoct here is a lot more rawer & only serves as yet another reminder of how consistent that The Alien Tongue has always been as it’s yet another standout in his already-impressive discography. He shows he can effortlessly shine alongside an elite class of greats & the production that Stu cooks up is extremely deadly.

Score: 4.5/5

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Kool G Rap – “Last of a Dying Breed” review

This is the 6th full-length album from Queens icon Kool G Rap. Coming up as a member of the Juice Crew collective & dropping 3 classic albums alongside DJ Polo from 1989-1992, he would eventually go on to build a solo career for himself in the fall of ‘95 beginning with 4, 5, 6. Last we heard from G Rap was in the summer of 2017 when he enlisted Toronto, Ontario, Canada producer MoSS behind the boards for Return of the Don, but has seen fit to re-emerge a little over 5 years later in the form of Last of a Dying Breed.

“Dying Breed” is a horn/boom bap opener with G Rap talking about how there ain’t many like him left this day in age whereas “Scared Money” works in some synthesizers to talk about not fearing a goddamn soul. Royal Flush & Vado tag along for the dusty piano-laced “Never Be” bragging that they be sippin’ on the finest champagnes just before Big Daddy Kane comes into the picture for the glistening “Fly ‘Till I Die” talking about being those motherfuckers until they both stop breathing.

Meanwhile on “Critical”, we have NEMS & the Genius of Rap coming together on top of some keys welcoming you to the dark side leading into the AZ/38 Spezh-assisted “Born Hustler” detailing the mafiosi lifestyle. “Official” hooks up some organs talking about being too certified with some jazzy undertones throughout the book, but then “Donald Goines” embraces a more triumphant sound taking you in as to how them boys be cooking.

The song “Million Reasons” with Al Skratch finds the 2 over a trap instrumental with an eerie vocal sample talking about being off the deep end while the penultimate track “Winning Hand” lets y’all know who you dealing with & the Lil Dee verse has gotta be the weakest feature on the album respectfully. “Born n Raised” with Grandmaster Caz & Doo Wop however ends things with an old school-flavored closer representing New York proudly.

Return of a Don was a great comeback for G Rap considering the mediocrity Riches, Royalty, Respect when it came out in the spring of 2011 & he goes back-to-back with Last of a Dying Breed here. A couple lackluster features here & there, but Domingo’s production is on par with MoSS’ with one of the greatest MCs in the history of our culture Giancana sounding like he has a fire under his ass lyrically.

Score: 4/5

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100 gecs – “Snake Eyes” review

St. Louis, Missouri hyperpop duo 100 gecs signing to Atlantic Records for their 2nd EP. Consisting of singer/songwriters & producers Dylan Brady & Laura Les, they got together in 2015 after meeting at a high school rodeo & dropped an eponymous extended play the following year to moderate reception. Their debut 1,000 gecs under Dog Show Records polarized the musical spectrum with some calling it unlistenable & others like me who appreciate it for playfully demonstrating their creativity, coming back 3 & a half years later to roll Snake Eyes.

“Hey Big Man” sets it all off with a rap rock intro reminiscent of the Beastie Boys’ full-length debut Licensed to Ill where both of them are trading bars with each other for only a couple of brief verses while the only single “Torture Me” co-produced by Skrillex fuses hyperpop, digicore hybrid trap, future bass, bubblegum bass & future riddim so Laura can repeatedly talk about an psychotic ex of hers that wants to torture her. “Runaway” finishes off by combining the hyperpop sound they’ve popularized & elements of alt-rock describing each of their desires to escape their previous lives.

If Snake Eyes proves anything, it’s that the next 100 gecs album could easily be the most accessible thing they’ve ever done & that wouldn’t necessarily surprise me now they’re on a major label. That being said: Snake Eyes feels more like a prelude to 10,000 gecs than a continuation of their previous full-length. Dylan & Laura’s hyperpop production carries over the digicore elements of the gecs’ previous output, except they’re emphasizing their alternative/rap rock influences a bit & I can see that working out in the long run if they take those styles further.

Score: 3.5/5

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Twiztid – “Glyph” review

This is the 16th full-length album from Detroit hip hop/rock duo & Astronomicon founders Twiztid. Consisting of Jamie Madrox & Monoxide, they originally started out as part of the House of Krazees alongside childhood friend The R.O.C. in 1992 before their initial disbandment 5 years later. Almost immediately after, the Insane Clown Posse took Jamie & Mono under their wings by signing them to Psychopathic Records as the demented duo they’re known as today. They would become the label’s 2nd biggest act being their mentors off projects like Mostasteless, Freek Show, Mirror Mirror, The Green Book, W.I.C.K.E.D. (Wish I Could Kill Every Day) & Abominationz. Shortly after the latter was released, Twiztid left Psychopathic to form Majik Ninja Entertainment in 2014. Since then they’ve released 6 albums & 7 EPs on their own label, my favorite of which being /ˌrevəˈlāSH⁽ᵊ⁾n/. Astronomicon has even become Metro Detroit’s top pop culture convention & I’ve gotten to meet some guests in the past such as former アイアンマンヘビーメタル級チャンピオン, GCW Tag Team Champion, TNA X Division Champion, 2-time WWE Hall of Famer, 2-time WWE Cruiserweight Champion, 5-time WWE tag team champion & XPW Television Champion X-Pac. Their full-fledged rock debut Unlikely Prescription was a bit mediocre in my opinion but ahead of the follow up Welcome to Your Funeral produced by Zeuss dropping in the new year containing more rapping & wicked shit, they’re returning to their hip hop roots on Glyph.

“Keepin’ 1” is an upbeat rap rock opener produced by Str8jaket with Jamie & Mono talking about doing fine & still being here whereas “Stab” takes the trap route thanks to the artist formerly known as Young Wicked himself James Garcia spitting the wicked shit. “Fallin N Love W Some1 Who Hates U” works in some synthesizers courtesy of Fritz the Cat with the title speaking for itself as far as subject matter goes, but then the Eastside Ninjas get together for “360” returning to the trap sound provided by Stir Crazy giving the middle finger to everyone hating on them.

Meanwhile on “Signs of a Villain”, we have Twiztid over a trap metal instrumental from Grady Finch of Oh! The Horror revealing that the red flags of an antagonist are everything you hate never changing leading into one of my favorites on the album “Never / Reboot” talking about this shit never stopping despite the beat here being a bit minimal. “Dig Another Hole” has a bit of an industrial flare to it speaking on trying not to lose control while the song “Clown” featuring Str8jaket talks about not being suckers even if their tears amuse you over a somber trap beat. The penultimate track “HD” almost has a Middle Eastern vibe to the instrumental advising to ask someone if you forgot who they are & “Guts” finishes things with a trap metal horrorcore anthem.

It’s already been a decade since these guys have left Psychopathic to start MNE & the fact that they’re still putting out great material like this at the rate they do is astonishing to me because I could argue that Glyph is the 2nd best post-PSY album that Twiztid has done behind /ˌrevəˈlāSH⁽ᵊ⁾n/. Primarily because of them returning to their horrorcore roots for the first time since Mad Season & the experimentation with new sounds like trap metal within the production.

Score: 4/5

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Truemendous – “Great. On Purpose” review

This is the sophomore effort from Birmingham, West Midlands, England, United Kingdom emcee Truemendous. Introducing herself in 2015 off her debut EP Whoremonal Moodswings, she continued to build momentum with the trilogy P.S. This Is Your Mother Calling began & bridged by P.S. This is Your Father Calling. The final chapter P.S. This is Your Aunty Calling eventually caught the attention of High Focus Records, who dropped her 5th EP Huh? right when the COVID-19 pandemic began. Coming off her debut album The Misdiagnosis of Chyvonne Johnson, the First Lady of High Focus looks to set the record straight of being Great. On Purpose.

“Womp (Uhuh)” begins in the form of this synth-funk/boom bap crossover talking about how working smarter does always go hand-in-hand with working harder whereas the 2nd single “Really Wanna Love” produced by Ghosttown takes up 105 seconds melodically yearning to have someone she can shower with affection. The 4th single “Yourself of the World?” featuring Skinnyman goes back to a boom bap vibe thanks to Illinformed talking about doing this music shit to instill their loved ones until the 5th & final single “In the World of of the World?” ponders if this was really her passion over a Telemachus beat.

Vaddy joins True on the dancehall-flavored “Curve” talking about doing better than ain’t being shit & her phone continuing to ring when it comes down to the money just before “Stooshe Then, Stooshe Now” picks things up with a hypnotizing celebration of womanhood. “Chatty Patty” ends the 1st half sampling an organ courtesy of Pitch 92 throwing some kicks & snares in the fold additionally calling out the people who go running their mouths regarding her while the lead single “Talkk” featuring MysDiggi gets the 3rd quarter started clarifying that neither one of them are looking to make small talk.

“Neither” combines electronic music & trap for a decent song pushing the 2nd leg of Great. On Purpose forward using it’s title to answer multiple questions like whether was born gifted or cursed & rather than getting hurt or learning a life lesson while “Flip a Coin” gives off a smoother approach talking about her having the ability to improve or worsen the lives of others. “Dark Shades” instrumentally radiates a summery atmosphere speaking of crying underneath the kind of glasses she’s rockin’ to avoid being seen in tears while “Beyoncé / Tortoise & The Hare” featuring Princessdkrazy comes together for a 7 minute 2-parter.

The song “Old Ting, New Ting” psychedelically addresses a toxic individual in her life who’s well aware of the poisonous energy he has to offer thanking him for all the moment he’s been able to share with her while the 3rd single “Still Don’t Wanna” maintains a respectable pace conveying themes of love, life & lust whilst returning to a bit of a nostalgically vintage boom bap sound. “I Feel Good (So Good)” concludes by sonically taking some cues from the realms of Latin music talking about how she’s doing better after taking some time to get herself together.

Huh? almost 3 years earlier remains the greatest musical statement in Truemendous’ career & although I enjoyed The Misdiagnosis of Chyvonne Johnson more than others did since there was some divisive feedback surrounding that previous full-length, Great. On Purpose could be the weakest project she’s done since the Hove, East Sussex imprint brought her on board. I can appreciate her taking a more ambitious approach compared to its predecessors, but the production during the 2nd act of it mostly doesn’t hit the same way Telemachus’ or Pitch 92’s did right when initially pressing play.

Score: 3/5

Montener the Menace – “The Miserable Git Next Door” album

Montener the Menace is an MC from Croydon, South London, England, United Kingdom who I first caught wind of him during the COVID-19 pandemic when he released his full-length debut I Have a Hidden Hobby. Even though overloaded with features & the instrumentals sorta sounded similar to one another, dude definitely proved himself lyrically & the sophomore effort he followed it up with a year & a half ago Anyone Home?. But as 2022 draws to a close, Montener is looking to return in the form of his 3rd album under his own label Hidden Hobby Records.

The title track kicks off the album with an orchestral boom bap instrumental cautioning how miserable of a person that he considers himself to be whereas “Tomorrow’s Never Promised” featuring A-F-R-O & Skyzoo works in a crooning vocal sample from Decksterror talking about how life is short. “Gunslinger” however comes through with a western-tinged sequel to “High Noon” off Anyone Home? just before “Sliding Doors” returns to a more symphonic-based sound vividly telling the story of someone whose mother always referred to as her greatest mistake.

However with “Decisions”, we have Guilty Simpson as well as REKS & Skinnyman joining Montener for a lavish boom bap anthem about the choices you make in general leading into “Hate to Love” has a more rawer approach instrumentally discussing what hate & love mean to him. “Teachered Artist” laces some dusty drums & trumpets confessing that his mission is to teach, but then Verbz comes into the picture for the keyboard/string-laced “Juxtaposition” produced by Domingo talking about crooked cops.

“Movie Decade Crusader” is a soulful dedication for all the film buffs out there while the song “Running My Mouth” is a triumphant boom bap ballad talking his shit whenever he happens to pull up in town. The penultimate track “About Love” comes through with a 6 crazy & a half minute UK hip hop posse cut featuring 14 other MCs with the most notable being bood, BVA, Cosm, Frisco Boogie, Cracker Jon, Genesis Elijah, Ramson Badbonez & Sean Peng prior to the outro truly ending the album returning to the boom bap with a plucky loop advising to leave him alone unless you wanna go to war.

Anyone Home? showed some significant improvements over I Have a Hidden Hobby & The Miserable Git Next Door continues to do that in an impressive fashion 17 months later. The production on the album was a tad bit superior, but I admire that the overabundance of features are continuing to be toned down to a respectable volume as Montener continues to reveal himself as one of London’s most skilled underground MCs today.

Score: 3.5/5

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Skribbal – “Road to Dystopia” review

Skribbal is a 30 year old MC from Los Angeles, California who came up in 2016 off the strength of his full-length debut Drug Spun Funk. This would catch the attention of the rising Wisconsin underground label Force 5 Records & they would put out his sophomore effort Skinwalker a couple years later. But once Skribbal dropped his debut EP Quarantine Sessions a month after the pandemic started, he would leave the label to form his own Sony Music imprint Hell Patrol Records & celebrated this newfound independence by dropping his 3rd album Black Eyed Children last spring distancing himself from horrorcore in favor of a more hardcore hip hop style. We’ve already gotten 2 EPs from him in 2022 with In Their Blood…& from the Gutterand Man with the Screaming Brain, but is finishing the year with a 4th EP.

“Son of Paleface” is a twangy boom bap opener dropping some battle bars whereas “Dorothy Lamour” works in a crooning vocal loop talking about searching for his soulmate. “Ralph & Alice” has some dejecting piano chords throughout as he & Brittany Dominguez compare one another to the titular couple from The Honeymooners while “Thanks for the Memory” reminiscing on how gorgeous this chick that he saw was over a vintage sample. The closer “Jackie Gleason” with Mopes is a horn-boom bap combination continuing to bring the hardcore prior to the bonus cut “Mambo Italiano truly ending the EP with an Italian flip explaining how crazy he is.

All 3 of the EPs that this dude has dropped throughout the year are solid in their own rights, but I think that Road to Dystopia is my 2nd favorite of the trilogy behind In Their Blood…& from the Gutter. The heavy 40s/50s influence throughout is pulled off in an interesting fashion & you can tell Skribbal has a genuine appreciation for that specific time in history. Whatever’s next in 2023, I’m interesting in hearing where it goes from here.

Score: 3.5/5

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Mickey Diamond – “Gucci Ghost” review

This is the 5th full-length album from up-&-coming Detroit emcee Mickey Diamond. Emerging at the beginning of 2020 off the strength of his debut EP Bangkok Dangerous, the dude has since gone on to turn quite a few heads in the underground by building up the impressive discography for himself with his previous 4 albums alongside 5 EPs & a mixtape. But when it was announced that Big Ghost Ltd. would be jumping behind the boards to lace Gucci Ghost in it’s entirety, I had to check it out considering the fact that the revered underground producer tends to bring the best out of the MC that he links up with.

After the “Crimes of Fashion” intro, the first song “The Invisible Man” sets off the album with Mickey hopping on top of a synth/boom bap instrumental with lyricism more stunning than WWE Hall of Famer, former 6-time WWE Champion, 2-time WWE Intercontinental Champion, 2-time WWE United States Champion, 5-time WWE Tag Team Champion & NWA World Tag Team Champion Stone Cold Steve Austin whereas “Vineyards in France” has a more sinister atmosphere to it advising wack rappers to tear up the contracts that they just signed. “Icicles” has a more symphonic flare to it whilst keeping it dusty showing off his ice just before The Steiner Brothers tag along for the forlorn “Stone Island Shooters” to insult their opposition.

However with “Maurizio’s Ghost”, we have Mickey over some dramatic boom bap production delivering some wig-splitting rhyme schemes for nearly 5 minutes asking what you’d expect while the song “Deluxe Flux” following the “Answer to a Dream” interlude keeps it in the basement as far as sound talking about being more than just an emcee. The penultimate track “GG Buckets” has a more grimier aesthetic to it with it’s blaring beat & Mickey referencing WWE Hall of Famer, 6-time WWE world champion, WWE Intercontinental Champion, WWE United States Champion, WWE Tag Team Champion, WWE Hardcore Champion, IWGPヘビー級チャンピオン, the inaugural 6-time TNA World Champion, TNA X Division Champion & 2-time TNA World Tag Team Champion Kurt Angle prior to “Chain Gretzky” is such a perfectly gully finish to the instrumental to the war-ready pen-game.

I’ve already covered a few of the Umbrella collective’s members in the past like Substance810 & Jay Royale, so it was really overdue for me to be to get to one of Mickey’s project & I’m sure as Hell happy that I did because Gucci Ghost just so happens to be is the crown jewel of his discography thus far in my eyes. Lyrically, dude’s the best he’s ever sounded & Big Ghost’s signature boom bap production compliments his gruff style in an impressive fashion.

Score: 4.5/5

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Napoleon da Legend – “Buckets” review

This is the 20th full-length album from Paris, France born albeit Brooklyn, New York raised emcee Napoleon da Legend. By now, underground heads should be familiar with at this point considering the lengthy discography that he’s built up for himself for nearly the past decade ranging from Coup D’État & it’s sequel to Street Universe & Dragon Ball G. But coming fresh off the Sicknature produced Colossus of GOATS about 6 weeks back, Po’s linking back up with Giallo for the first time in 2 years with Buckets.

“Reminisce to ‘88” finds Napoleon reflecting on how much the titular year means to him over a boom bap instrumental whereas “Federer’s Racket” has a more lavish quality to it for a dedication to his counterparts. The piano sections throughout “Order Seconds” were a very nice touch in my opinion with the lyrics talking about being “Rather Unique” much like the underrated Brooklyn veteran himself AZ, but then “Guard Ya Grill” has a more rawer approach to it down the aggressive subject matter & delivery.

Moving on to “Intermittent Blasting”, we have Supreme Cerebral tagging along on top of a glossy beat calling themselves the biggest bag-getters just before “Avirex Days” delivers a classy boom bap ballad acknowledging that his output is really the only thing you hear about from him. “Nas & AZ” has a funkier groove to it was Nejma Nefertiti coming into the picture to engage in some crazy back & forth chemistry with Po comparing themselves to the titular New York veterans leading into the soulful “Buzzer Beater” referencing the inaugural IWGPヘビー級チャンピオン, former 12-time WWE world champion, WWE tag team champion & 2-time WWE Hall of Famer Hulk Hogan.

“Spoils for War” works in a drumless orchestral sample talking about wearing his scars proudly & time flying when you’re fearless while “Asylum” embraces a more luxurious vibe encouraging one to slide up in the nuthouse & talking about no longer being surprised because of his conscious being anchored to reality. “The Finest Things” is an upbeat ode to exactly just that while the dusty penultimate track “Stress” cautions what ages you the fastest. The closer “All Eyez on Me” however has some stellar jazz undertones to the beat flexing on them.

Everything that Giallo Point has laced for Po has become amongst the best work in his ever-growing discography & not only is Buckets is a welcoming addition to that, but it’s just as fantastic if not better than The Colossus of GOATs only a couple months ago. Both of them continue to bring the best out of one another from Giallo’s raw production to the highly impressive songwriting that Napoleon hits down.

Score: 4/5

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