Guilty Simpson – “Guilt” review

This is the 6th EP from one of Detroit’s greatest MCs: Guilty Simpson. Coming up as a member of the Almighty Dreadnaughtz collective & a frequent collaborator of the late J Dilla, it wasn’t until late March of 2008 where he officially branched out on a solo career by having Stones Throw Records back his incredible full-length debut Ode to the Ghetto. He has since followed it up with a handful of equally great projects including his Madlib-produced sophomore album O.J. Simpson, the Apollo Brown-produced Dice Game, the Oh No-produced Simpson Tape & more recently the Gensu Dean-produced EGO just to name a few. However, the hometown veteran’s seeking to deliver a portal between the listener & his Detroit reality in the form of Guilt.

“Looking for More” is a synth-laced opener to say sayonara to all the fakes whereas “Make It Count” with Jason Rose finds the 2 over a jazzy boom bap instrumental talking about burning through an ounce. Bronze Nazareth & Oh No tags along for the dusty “Off Herb” to show off their lyrical prowesses leading into the guitar-laced “Linch Pins” with Prince Po talking about being triumphant. The song “Go Where I Please” works in a funky bass-line getting in his battle rap bag while the penultimate track “Dark Night” has a more glossier aesthetic talking about having the heater ready. “For the Real Only” however closes out the EP with some strings dedicating it to all the authentic ones.

If anyone enjoyed EGO as much as I did, then I HIGHLY recommend giving Guilt a listen sooner than later because this is a very impressive EP. The desire that he has to grow artistically is truly inspiring & the cast of producers that Guilty brings with him for the ride bring more live instrumentation into the picture this time around with some highly interesting results.

Score: 4/5

Wiked Wood – Self-Titled review

Wiked Wood is a horrorcore duo from Atlantic City, New Jersey consisting of Cray-Z & Grave-Bait. The pair first emerged in the spring of 2013 off their full-length debut Red Carpet, which was followed on Halloween 2016 with their sophomore effort Dubs Up & then their debut EP Simulated Reality a week before Christmas couple years back. However with them making their 2nd consecutive appearance at the Gathering of the Juggalos next week, they’re dropping off an eponymous 3rd album for all of those who’re new to their music.

After the intro, the opener “Gotta Keep It Wiked” is a spooky boom bap opener produced by Devereaux to my surprise taking about remaining true to their horrorcore roots whereas “Spaceship” comes through with a Tech N9ne-inspired party anthem. “Petrified” shoots for a more futuristic approach to boast leading into the guitar-driven “Icarus” to talk about the minor character in Greek mythology not flying close to the sun with a cool “legends never die” line during the hook.

Meanwhile on “New Shit”, we have Lyte & Project Born joining Wiked Wood over a piano-laced instrumental to show their haters how they’re doing leading into Bernz & Ouija Macc tagging along for the nocturnal “Neck of the Woodz” to talk about being good with them as long as you pat your respects to them. “Spell It Wrong” works in some bells thanks to Shaggytheairhead saying they don’t need no fuckin’ C, but then “You Better Run” puts an EDM spin on the fucking Halloween theme to spit the wiked shit.

Blahzay Roze comes into the picture for the acoustic-flavored “Tomorrow” talking about scars healing & carrying on while the Androponix remix of “Paper” just seems a little pointless in my personal opinion. After the “Free Wawa Gift Card” skit, “What You Think’s Real” is a rap rock banger with both MCs gruesomely talking about certain interactions. being capable of shattering your mind while the “O.W.T.H. (Off With The Head)” remix being superior to the original. The penultimate song “See Me Shine” calls out those who wanted them to fail over a sunny beat & after the “Tom Wood Please” skit, “This is a Tribute” happens to be an odd choice for a closer as it’s an EDM-influenced juggalo ode.

I was pretty impressed with Wiked Wood’s set at last year’s Gathering, so it definitely made me curious to hear a full-length of theirs & I happen to think that it’s their most consistent body of work to date. Their lyricism has gotten better & do a solid job at refining their style for all of those who’re new to them.

Score: 3.5/5

Domo Genesis – “Intros, Outros & Interludes” review

Domo Genesis is a 31 year old MC & songwriter from Inglewood, California who got his start in mid-2009 as a member of the now defunct Odd Future collective. He’s gone on to give us a full-length debut accompanied by 4 mixtapes & 4 EPs within the last dozen years, my personal favorites of which being his debut mixtape Rolling Papers as well as his Alchemist-produced 3rd mixtape No Idols & his Evidence-produced debut EP Aren’t U Glad You’re U?. Last we heard from Domo was when he dropped the Just in Case duology with Mike & Keys last summer but now after signing to Bigger Picture Recordings not too long ago, he’s re-emerging in the form of a sophomore album with the label’s founder Ev returning behind the boards.

“Don’t Believe Half” is a drumless, jazzy opener with Domo talking about no realness being left & only him that’s exempt whereas “Skeletons” with Navy Blue finds the 2 over an upbeat instrumental talking about the skeletons in their closets piling up. “Trust the Process” takes a soulful route sampling Freda Payne with the subject matter pretty much speaking for itself, but then “Reverse Card” shoots for a more dejecting aesthetic to talk about turning tables is his favorite part.

Meanwhile on “Stay 1 More Day”, we have Doms over another soul sample hoping to stay optimistic just before Remy Banks tags along for the settle “Campfire” to flex their respective styles. “Running, Running” weaves a crooning vocal loop into the mix to talk about lanes switching as life goes on, but then “Victories & Losses” with Evidence is a piano/boom bap banger talking about all the highs & lows they’ve encountered.

The song “Going Rate” brings back the jazz admitting that he doesn’t cry tears & he’s on a God tier while the penultimate track “December Coming” with Boldy James sees the 2 over a mystic beat to provide introspection for the listeners out there. “Tallulah” on the other end closes out the album with Domo talking about doing it for the love even though the love ain’t there over a dismal instrumental.

It should go without saying that this is Domo’s best solo effort in a while & a much more consistent full-length than GENESiS & that album was just ok in my opinion. Evidence’s production is much more interesting, Domo gets a lot off his chest lyrically & I really enjoy the natural progression of their chemistry although I still love Aren’t U Glad You’re U? as much as I did 3 & a half years back.

Score: 4/5

$uicideboy$ – “Sing Me a Lullaby, My Sweet Temptation” review

This is the 3rd studio album from New Orleans duo $uicideboy$. Consisting of Ruby da Cherry & $crim, the released a plethora of projects within the last 8 years whether it be the Kill Your$elf saga & Eternal Grey or even the full-length debut I WANNA DIE IN NEW ORLEANS & the Travis Barker-produced Live Fast, Die Whenever. The boy$ recently dropped their sophomore effort Long Term Effects of Suffering last summer & are ringing in another one in the form of Sing Me a Lullaby, My Sweet Temptation.

“Genesis” kicks off the album sampling the greatest Mario game of all-time Super Mario World with Ruby & $crim talking about reinventing themselves whereas “Matte Black” takes a cloudier route to rep the ever-growing G*59 Record$ that they founded from their inception. Fucking Your Culture” shoots for a darker aesthetic to flex just before “1,000 Blunts” works in a vocal sample talking about not giving in & relapsing on drugs.

Meanwhile on “In Constant Sorrow”, have the boy$ over some jazzy production tackling their depression leading into “Escape from BABYLON” returning to cloudier territory talking about finding love in the wrong places. “Ashes of Luxury” comes through with a mellow weed-smoking anthem, but then “Resistance is Useless” flips the late Koopsta Knicca talking about stacking up addictions & the only thing that’s changed is that they cut off one of their homies.

“Eulogy” has a mystical feel to it asking to play this song at their funerals while “No Matter Which Direction I’m Going In, I Never Chase These Hoes” atmospherically opens up about troubled relationships. The song “$uicideboy$ Were Better in 2015” is a piano-laced diss towards those who preferred their music when they were on drugs while the penultimate track “Unlucky Me” is an impressive sequel to “Lucky Me” down to the SWV sample. “THE_EVIL_THAT_MEN_DO” ends the album on a boom bap note addressing trust issues & being away from the public eye.

For the people who keep complaining that the $uicideboy$ sound the same every time they put a project out together, this is another reminder for them to shut the fuck up. The production that $crim cooks up is some of his most versatile that he’s ever made with him & Ruby giving the listeners a wide range of emotions from braggadocio to heartbreak, anger & even anticipation about their reinvention.

Score: 4/5

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Sly Moon – “Banned From the Vic” review

This is an extended play of solo material from London, England, United Kingdom emcee/producer Sly Moon. A former member of the Children of the Damned as well as currently being apart of its successor the Cult of the Damned & the Sohio Players, he made his full-length debut in 2020 with Why Am I So Sly? under Blah Records & teamed up with it’s founder Lee Scott for the collab effort F.D.M.B. (Flippin’ Dough Makin’ Bread). Fast forward 8 months later & he’s been Banned from the Vic nearly a week after Luke Jacobs ended Michael Oku’s longest reign as RPW British Cruiserweight Champion.

We get an eerie self produced instrumental on the intro talking about being dressed like a jester of sorts in the middle of “Leicester Court” whereas the title track confirms that the Grosvenor Casino Victoria did in fact ban him over a drumless chipmunk soul loop. “Take Money” featuring Sonnyjim goes for a jazzier vibe expressing their love of money leading into “Back for More” incorporating some synthesizers talking about coming at people’s doors after going from rich to poor.

“How My Thoughts Go” gets the other half of the EP blending a crooning sample & a piano for a dedication to the 24/7 grinders & nightlifers while “Stuck in the Hippodrome” featuring BeTheGun & Stinkin’ Slumrok finds the trio teaming up for a hardcore jazz rap anthem reminiscent of the Cult of the Damned’s output collectively. The jazz elements seep through the 67 second look at a “Holographic World” & the final song sends it all off on a smoother note sipping Hennessy at the local “Hippo Bar”.

Taking in consideration that the Sohio Players produced a vast majority of Why Am I So Sly?, it was interesting to hear Sly Moon solely handling the beats himself & Banned from the Vic provides a better look at his individual dexterity whilst leaning towards a gambling theme. His production’s more soulful than was a couple years earlier & spends 19 minutes telling late-night stories right around the poker table with a well selected guest list adding their perspective to the issue.

Score: 4/5

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Autumn! – “##B4GC2” review

This is the surprise 17th EP from Louisiana rapper/producer Autumn!. Making a name himself in the plugg scene, he got his start by dropping 16 EPs & a full-length debut on SoundCloud since 2018 prior to signing to Victor Victor Worldwide & Republic Records after his last EP Not Much Left last fall. He just put out his sophomore effort albeit major label debut Antagonist! few months back to positive reception & now surprise-dropping ##B4GC2 ahead of Golden Child 2.

“My Collection!” is a spacious opener talking about letting Keisha think that he’s the one that needs her while the self-produced “I’m Doin’ Fine!” takes a pluggier route assuring everyone that it’s all good on his end. The penultimate track “Know You Hear Me!” has a more psychedelic edge to it delivering a message to the higher power & “Wait Yeah!” closes out the EP with a fun trap banger produced by Maajins confessing that he doesn’t know who he’d be without the power of music.

Golden Child is still a favorite of mine throughout Autumn!’s catalog due to how personal he got on there & this prelude has me anticipating the sequel highly. The production is a lot more plugg-influenced than Antagonist! was & the introspection that made the first Golden Child so special happens to carry it’s way over here.

Score: 4/5

FlexxBabyy – “Barbara’s Son” review

This is the 4th EP from Atlanta, Georgia recording artist FlexxBabyy. Coming up in the spring of 2020 after Benny the Butcher signed him to his MNRK Music Group imprint Black Soprano Family Records, he has gone on to drop a plethora of singles & 3 EPs since being taken under the Buffalo emcee/entrepreneur’s wing. He just dropped OutKast a few months back & is already following it up in the form of Barbara’s Son now that we’re about halfway through the summer at this point.

“1 Day” is a short yet catchy trap opener talking about how cats stay mad at him whereas “Bothering Meh” works in a rage beat to confess that he has shit buggin’ him. “Other Hand” shoots for a more cloudier aesthetic to chase the bag leading into the bassy yet somewhat mystic “Racks In” continuing to thirst for the bread.

The song “Stuck to Meh” returns to hypertrap detailing a bitch that’s stuck to him like they use honey while the penultimate track “Wraith” takes it back to a cloudy trap sound talking about trying to pull up in the Rolls-Royce of the same name. “That’s Yo Word” closes the EP with an airy beat with some bells woven in to describe how bad this other bitch is.

Even Benny himself has said in the past that he has bigger plans for BSF by bringing in artists that separate themselves form the boom bap sound that the label has become known for & FlexxBabyy is a good example of that. His hunger only increases by the minute, the songwriting is getting catchier & I can’t knock on the fact that he’s continuing to refine his rage-influenced sound.

Score: 3.5/5

Lil Uzi Vert – “Red + White” review

Lil Uzi Vert is a 26 year old rapper & singer from Philadelphia, Pennsylvania that became a household name in the trap scene with their 2015 mixtape LUV is Rage & then Lil Uzi Vert vs. the World the following year. Since the release of their 2017 debut album LUV is Rage 2, Uzi has been entangled with a nasty legal battle with Generation Now Entertainment/Atlantic Records until Eternal Atake came out in March of 2020 to moderate reception & followed it up a week later with the far superior Lil Uzi Vert vs. the World 2 that spawned the deluxe version trend where artists would drop a “deluxe version” of their newest project that’s basically an entirely new album. But after dropping a bunch of singles on SoundCloud thought the past week, Uzi is warming everyone up for The Pink Tape by dropping their 3rd EP.

“Space Cadet” is an pluggy opener produced by Brandon Finessin’ of Working on Dying that’s a bit all over the place if I’m being honest with Uzi talking about not being used to stallin’ & used to cake whereas “I Know” taking a cloudier route thanks to Sonny Digital being aware of what their lover is really like referencing WWE Hall of Famer Mike Tyson. “Flex Up” reunites with Maaly Raw for a mellow trap banger talking about being the next & best one, but then “Hittin’ My Shoulder” has a more abstract approach thanks to Dun Deal calling out people on their fake love & biters.

Meanwhile on “For Fun”, we have Uzi over an airy instrumental taking about counting ranks solely for his pleasure leading into the vibrant “Believe Me” continuing to brag lyrically. The song “Issa Hit” shoots for a more abrasive aesthetic thanks to Oogie Mane asking if it’s lit just before the penultimate track “Glock in My Purse” advises to look at it like a bag with DJ Mustard providing a synth-heavy sound. “Final Fantasy” on the other end finishes the EP with a rage beat bragging that they have the strategy.

It’s been over a little over 2 years since we last heard from Uzi on their own & for them to give us Red + White in advance, I think it’ll definitely hold us over until The Pink Tape whenever it comes out. It sounds laser-focused & I appreciate that production experiments with the plugg/hypertrap sounds that’ve been becoming more popular in recent memory.

Score: 3.5/5

B.H. Tryggs & Black Canvas – “The Renaissance II” review

This is the 2nd collaborative album between Grand Rapids emcees B.H. Tryggs & Black Canvas. Coming up as members of the OxfordGang crew, the duo have most definitely worked with each other numerous of the times within the last 4 years dating back to the 2 features Tryggs had on Canvas’ debut EP Triple Hero. They even put out The Renaissance together last summer & are already keeping the series going by reuniting to dropping a sequel.

“Underworld” is a Black Canvas solo cut to kick off with a piano/boom bap instrumental talking about they gon’ respect the shooter whereas “Reefer Madness” finds the duo over some strings & dusty drums to express their love for weed. “B.C. Sniper” takes a more solemn route flexing their prowesses just before “Master Sword” is a synthesizer/boom bap combo talking about how much heart they have. Meanwhile on the orchestral “Kisses from Rogue”, we have these guys declaring themselves to be the best in the business leading into the shimmering “Godspeed” asking how one desires to live & be remembered.

“Genesis” is a Black Canvas solo cut with an organ, a vocal sample & some hi-hats pouring his heart out lyrically while the song “Kill Hercules” is another Canvas solo dolo moment except with a more morbid trap tone talking about how he can’t be stopped. Tryggs links back up for the penultimate track “90’s All-Stars” returning to the boom bap comparing life to a double-rim & to round it all off, “40 Love” details being on the road to glory backed by a trap instrumental with a medieval loop.

From what I’ve heard from both these dudes so far, I think The Renaissance II is a refinement of the predecessor. The Oracle comes up with some incredibly interesting ideas throughout the production he cooks up throughout this whole album with both MCs pinging off each other lyrically excellently showing the world how hungry they really are. Will we get a 3rd installment of The Renaissance series next summer? Only time will tell.

Score: 4/5

Mozzy – “Survivor’s Guilt” review

Mozzy is a 35 year old MC from Sacramento, California who I became a fan of in the summer of 2017 off his full-length debut 1 Up Top Akh. He would go on to be featured on the soundtrack for the incredible Marvel blockbuster Black Panther only 6 months later & drop 6 more albums through his EMPIRE-backed Mozzy Records but considering that Memphis veteran Yo Gotti signed him to his Interscope Records imprint Collective Music Group back in February, it was only a matter of time that Mozzy would drop his major label debut considering the fact that CMG’s been turning a lot of heads & getting a lot of coverage recently.

“Not the Same” is a introspective opener with it’s piano/sample infused trap beat along with the lyrics addressing those who say he’s changed whereas “If You Love Me” takes a more acoustic turn asking why he would change if people cared for him. EST. G tags along for the grim “Lurkin’” getting on their gangsta shit, but then Shordie Shordie comes into the picture for “Tell the Truth” to deliver one of the weakest features on the album despite the hyphy instrumental & the subject matter of wanting to be alone.

Continuing on with “Murder on My Mind”, we have Mozzy over some pianos & snares explaining why he can’t sleep without no slime leading into “Burrr” weaving in a twangy trap beat talking about how things are getting icy out here. “Wouldn’t Be Us” with YG shoots for a more cavernous aesthetic as both MCs telling their significant others it’s different then they’re thuggin’ just before “Smoke Nuffin’” bringing back the keys as 42 Dugg assists the mic to keep it 100.

“4Life” is a heavenly ode to Mozzy’s affiliation with the Bloods while the weepy “Make the News” with Blac Youngsta & Yo Gotti finds the trio calling out those who don’t actually love them like they said. “What You Hollin’” with his younger brother E-Mozzy & Celly Ru sees the 3 over some pianos & thumping drums getting on their mobb shit while “Ain’t Really Real” throws some strings in the mix talking about fake love.

The song “Open Arms” has a more smoother feel to the production as Mozzy talking about the streets welcoming him very kindly while the penultimate track “In My Face” with Saweetie & 2 Chainz shows a raunchier side to all 3 of them over a nervous DJ Mustard instrumental. “Real Ones” with Roddy Ricch however is a deadpan finisher to the album by showing love to those who’re no longer here with him.

Overall, I’d say that Survivor’s Guilt is one of the best major label debuts that I’ve heard in a while & most definitely a standout in Mozzy’s ever-growing discography. I could’ve done without a couple of the features, but a good portion of them proves that he fits in with CMG with the emotion throughout the 43 minutes is truly touching.

Score: 3.5/5