Tech N9ne – “Asin9ne” review

This is the 23rd full-length album from Kansas City icon Tech N9ne. Getting his footing in 3 decades back as a member of the groups Black Mafia as well as the 57th Street Rogue Dog Villians & Nnutthowze, his profile began to increase in the late 90’s after landing a spot on the Gang Related soundtrack & becoming among the first to join Yukmouth’s then-newly formed collective The Regime. But after having issues with Interscope Records & Universal Music Group following the release of his iconic 3rd album Anghellic, that’s when Tech decided to form his own label with the help of a man at Paradise Originals named Travis O’Guin. Together, they would call it Strange Music & solidified itself as one of if not the biggest indie label in the world. Tech has made it a tradition to drop an album every year since Everready (The Religion) back in ‘06 & given that’s been going on at Strange throughout 2021, I was very curious to hear how Asin9ne would address it all.

“The Herder” kicks the album off with Tech villainously proclaiming himself as just that with production from Wyshmaster whereas the King Iso & Seuss Mace-assisted “I Don’t Fit” has a symphonic trap vibe with the help of N4 talking about not fitting in even though they’re the shit. “Kickiter” has a bit of an EDM flare encouraging the crowds to riot leading into the spacious “Too Good” produced by Ervin Pope & featuring Lil Wayne tackles the idea of being too good for their own good.

Meanwhile on “No See Umz”, we Snow Tha Product tagging along with a poorly sung Russ hook for an anthem going at their doubters just before King Iso returns alongside Joey Cool & even former 10-time WWE world champion, 2-time WWE Intercontinental Champion and 5-time WWE tag team champion The Rock (although you can definitely tell Tech wrote his verse) with the combative “Face Off” serving as MIKE SUMMERS a.k.a. 7’s only production credit on the album with Joey referencing Reality of Wrestling (RoW) founder, 2-time WWE Hall of Famer, former 6-time WWE world champion, 14-time WWE world tag team champion, 4-time WWE United States Champion, WWE Intercontinental Champion, 6-time WCW World Television Champion, ROW Tag Team Champion & TNA World Tag Team Champion Booker T during his verse. E-40 comes into the picture for the explosive strip club anthem “Clydesdale”, but then “Still Right Here” with X-Raided serves as an emotional ballad about loyalty.

“Take Your Halo” reveals itself as an angry response to those who’ve been talking shit on Strange Music as of late while “Knock That Noodle” speaks on the violence in KC over a cavernous beat. “Heightened” despite it’s brevity feels like something you’d hear in the trailer of a good horror movie just before the horribly produced dubstep/rap fusion that is “What Rhymes With Threat’ll Kill Ya?” by the Nnutthowze despite the subject matter of dissing all the sick fucks out there.

If you couldn’t tell by the title, “I Been Thru a Lot” delivers one of the more vulnerable moments on the entire album & “Dial It Back” has a more cloudier sound talking about how he ain’t bragging. The song “Zaza” with Oobergeek meditatively gets sensual while the penultimate track “Close Yours Eyes” is a more boom bap-tinged pleading to keep faith in him. “Special” finishes it off with a powerful, feel-good guitar ballad.

I’ve been a huge fan of Tech N9ne since my senior year of high school & his music has helped me through some dark times, but I’m kinda indifferent towards Asin9ne. He definitely proves that he can hold an album without 7 but much like ENTERFEAR, he overdid it on the features & their contributions are either hit or miss.

Score: 3/5

Atmosphere – “Word?” review

This is the 12th full-length album from renown Minneapolis, Minnesota duo Atmosphere. Coming up as a trio in the late 90’s off at their critically acclaimed debut Overcast!, they would later go on to build an independent empire with their Rhymesayers Entertainment label whether that be signing acts from Brother Ali to the late Eyedea or putting out their best bodies of work like God Loves Ugly or Sad Clown Bad Dub 9. But for the last 3 years now, Slug & Ant have been treating their fans to a new album every year starting out with Mi Vida Local. Now with the 1 year anniversary of The Day Before Halloween coming at the end of the month, Atmosphere is continuing their new tradition by dropping Word?.

“Fleetwood” is a rich boom bap opener saying he’s glad he’s not the same person as he once was whereas “Something” thunderously encourages listeners to get back up when pushed down. Evidence & Muja Messiah both come into the picture for the bass guitar-infused “Crumbs” speaking on their obsessive compulsions, but then “Woes” glisteningly details that you can’t love without misery.

Meanwhile on “Strung”, we have Musab accompanying Atmosphere on top of a melodic vocal sample expressing that they’re feeling tense just before “Clocked” is a misty declaration that time is killing us. “Sleepless” works in some keys & hi-hats as Nino Bless tags along to tackle the theme of insomnia leading into the eerie “Distances” pleads to leave him & his family alone.

“Carousel” mesmerizingly talks about wanting to protect myself from his lover’s sting while “Vanish” is a short yet vibrant & funky little freestyle. “Pressed” serves as a tribal posse cut with Anwar HighSign, Lateef the Truthspeaker & Sa-Roc being amongst the best of the 6 while the song “Skull” hauntingly details a night where he or Ant was supposed to die.

The penultimate track “Nekst” works in some acoustics & handclaps airing out someone he loved ending up betraying him, but then “Barcade” with Aesop Rock & the late MF DOOM ends the album with a complete lyrical annihilation with the Hellish beat fitting into the mix ever so flawlessly.

As much as I liked The Day Before Halloween for it’s experimentations, I think the hardcore fans are gonna dig Word? a bit more. Ant takes it back to the duo’s signature sound & Slug’s lyricism is as lighthearted as it was back in their prime almost 2 decades ago.

Score: 3.5/5

KanKan – “##RR” review

KanKan is a 21 year old artist & producer from Dallas, Texas who emerged in 2019 as a member of Slayworld & by landing production credits for a wide range of artists from Summrs to even Little Pimp. He’s also dropped an eponymous debut mixtape & 14 EPs in that short amount of time, but all of that has but nothing but a pre-game & is ready to prove the world what he’s really capable of on his very 1st full-length album.

“Arcteryx” kicks it all off a fun little freestyle accompanied by a minimal yet joyous instrumental whereas “Red” is a bass-heavier cut speaking on his newfound fame. “Breakin the Bank” is a cool electro/trap fusion about his wealth, but then “Not da Same” feels like a leftover from Yeat’s latest album Up 2 Më given the lack of KanKan’s presence on it.

The title track brings in some hypnotic synth melodies celebrating the paper coming in by dropping it on a black Bentley & Roxis just before “Wreck” works in a blobby bass-line talking about walking in the club with that fire. After the acoustic-tinged “Oxy” interlude, “Milan” serves as a corny love ballad with an underwhelming Joony verse at the start leading into the cloudy yet monstrous “Dissin’” goes at his naysayers.

“Under Me” continues where the previous cut left off thematically albeit with a mistier beat while “Take It to Trial” serves as an underwritten shot at studio gangsters. The song “Fuk tha Clout” with Yeat finds the 2 on top of a mind-altering instrumental saying they don’t care about the fame while the penultimate track “Russian Shit” works in some piano melodies getting on his hardcore shit & “Demon Time” is a short yet grim finisher to the album displaying his recklessness.

Overall, #RR is a pretty respectable debut album & I’m curious to hear where he goes from here in the subsequent future. A couple songs seem like they’re unfinished & not fully realized, but KanKan continues to make his mark as one of the biggest names in the plugg scene today as he vibrantly details where he’s at currently.

Score: 3.5/5

Lute – “Gold Mouf” review

Lute is a 32 year old rapper from Charlotte, North Carolina who came up almost a decade ago as a member of the short-lived Forever FC as well as his debut mixtape West1996 a little bit after their disbandment. This would catch the attention of local legend J. Cole & he would sign Lute to his Interscope Records imprint Dreamville Records the very day the label dropped their 2nd showcase compilation Revenge of the Dreamers II in December of 2015. Fast forward to his full-length debut a couple years later being a respectable sequel to his breakout tape but now, he’s enlisting Rapper Big Pooh to oversee this sophomore album of his.

“100” is a dreamy boom bap opener about keeping it real whereas “G.E.D. (Gettin’ Every Dolla)” has a bit of a lush trap instrumental speaking on making the money. “Myself” addresses being extroverted with a meditative Trox beat, but then “Be Okay” has a bit of an R&B-flare optimistically looks forward to the future in the midst of dark times.

Meanwhile on “Eye to Eye”, we have Cozz tagging along for a piano ballad about how real recognizes real just before “Changes” vibrantly details that he’ll never switch up like a lot of other cats did. “Ghetto Love” is a decent romance cut that I can do without whereas “Amen” with fucking Little Brother gets on the boom bap tip takes another whack at it doing a much better job with it’s spiritual references.

SABA comes into the picture for “Birdsong” to talk about living how they want over an alluring vocal sample leading into the dusty, boastful “Flossin’” featuring Shady Records’ very own Westside Boogie & produced by Marco Polo. The song “Life” vulnerably details how he handled the hurdles 2020 threw at us while the penultimate track “Overnight” is a guitar ballad reminder that Rome wasn’t build in a day. “Crashing” serves as a cloudy finisher saying he’s been stuck in his ways & been in control of his own faith.

For anyone who enjoyed the West1996 duology, I think you’re gonna like Gold Mouf just as much if not even more. Big Pooh brings in a gang load of fresh faces behind the boards to demonstrate their talents, the features are well-picked & Lute’s at his most honest lyrically.

Score: 3.5/5

Stanwill – “Full Auto” review

Here is the 3rd solo EP from Detroit, Michigan rapper Stanwill. Coming up as 1/3 of the ShittyBoyz with Babytron & TR Dee signing to Lando Bando’s own The Hip Hop Lab Records, he eventually branched out on his own during the COVID-19 pandemic off last summer the debut EP $camwill as well as it’s successor Gifted turning 1 this winter & the debut mixtape Van Gundy earlier this year. However, he’s looking to completely go Full Auto in preparation for a full-length debut studio album.

The self-produced “Slime Ball” starts by talking a whole lot of gang shit whereas “Ándale” flexes that he & the rest of the Dog $hit Militia collective will slide in ア・ベイシング・エイプ, which is one of my favorite clothing brands personally. “Max Payne” references the Rockstar Games-owned franchise of the same name & promising a mugger he’ll get his ass beat if he tries him while “Fast Lane” talks about living in the fast lane.

“Been That” gives a shoutout to Louis Vuitton men’s creator, Off-White founder & RSVP Gallery founder Virgil Abloh for the fit leading into “8 Phones” talking about not giving a fuck regarding the little guns or petty stacks because they got bigger sticks & longer money. “Kick Ass” finishes the Full Auto experience by talking about receiving slow head because the whip’s too fast, spending a total of $400 on 2 steaks.

I wouldn’t rank Full Auto above $camwill or Chosen, but it’s still a worthy Detroit trap solo EP from Stanwill displaying what he’s capable of doing by himself ahead of his inaugural LP whenever he decides to put it out. Production isn’t as interesting as the Van Gundy tape or his first couple EPs, except I like that he holds down the mic by himself as opposed to the guests on Full Auto’s predecessors.

Score: 3.5/5

maticulous – “no caps” review

maticulous is a 40 year old producer from Brooklyn, New York who originally broke out a decade ago off his eponymous debut EP & then a self-titled debut a few years later. This was followed up with The Chrome Tape in 2016 but after producing a couple albums for Justo the MC More recently, he’s dropping a sophomore EP with a jam-packed cast of MCs coming along for the ride.

“Shouts To…” by Homeboy Sandman starts off the EP with an alluring boom bap propping up those who got him out of a bind whereas “Everything” by Justo the MC & Skyzoo finds the pair putting all on the line on top of some strings. “Close Range” by J Scienide & Kev Brown takes a more soulful route getting at their competition, but then “Home Goin’” by Guilty Simpson is an airy boom bap cut detailing going to a funeral with the killers in the room.

Meanwhile on “Take Heed”, we have Breeze Brewin’ & Al Skratch coming together over a harp-laced instrumental advising to watch your surroundings just before “Bein’ This Nice” by Uptown XO & yU gets in that grimy shit talking bag. The penultimate track “Keep ‘Em High” by Beedie, Justo the MC & Rim has a more smoother vibe encouraging listeners to move with them & the closer “Survival Mode” by Ill Conscious & M.A.V. has some slick guitar melodies speaking on how it’s normal for them trying not to get killed in the hood.

Between this & the self-titled joints, I think no caps has to my favorite solo projects that maticulous has dropped so far. Some of the best beats he’s ever made pop up on here & the guests are a bit more consistent in terms of their performances.

Score: 4/5

Lil Wayne & Rich the Kid – “Trust Fund Babies” review

This is a brand new collaborative album between Lil Wayne & Rich the Kid. One is a icon from New Orleans, Louisiana who had the rap game in a chokehold during the mid/late 2000’s & the latter being a 1-hit wonder from Atlanta, Georgia who most people remember for “New Freezer”. Only reason being because of Kendrick Lamar’s odd yet show-stealing feature on there. We’ve only heard the 2 on a couple songs together within the last couple years but with the 1-year anniversary of the Nobody’s Safe joint album with YoungBoy Never Broke Again coming next month, he & Weezy are uniting for Trust Fund Babies

“Feelin’ Like Tunechi” has a bit of a jangly instrumental to it with both of them talking about being GOATed (which only Wayne has the bragging rights for in my opinion) whereas the orchestral “Headlock” doesn’t even sound focused lyrically. Tay Keith’s hazy production on “Trust Fund” is a breath of fresh air as is the concept about going from rags to riches leading into “Admit It” works in some uptempo synths admitting being wrong & being done wrong.

Meanwhile on “Shh”, we get the reminder that money talks on top of a reversed loop just before the spacious “Big Boss” declares themselves as such. Murda Beatz’ nocturnal instrumental on “Still” is another relief as they talk about being the same reckless dudes while the song “Bleedin’” serves as a boring ode to being fucked up with the penultimate track “Buzzin’” with YG taking another jab at it albeit being slightly better. As for “Yeah Yeah”, it closes the album with annoying cadences & a spacious beat.

Beyond that, what else can I really say about this album other than the fact that it just sucks? Wayne’s verses are just ok by his standards, but I can’t say the same for Rich’s at all & there’s no real chemistry between them on here. On top of that, the production is astoundingly cut-rate.

Score: 1.5/5

Wiki – “Half God” review

Wiki is a 27 year old rapper, songwriter & producer from New York City who came up a decade ago as part of the trio Ratking. Following their disbandment in 2016, he’s made a pretty successful solo career of himself with his debut No Mountains in Manhattan under XL Recordings & the sophomore effort OOFIE through his own label Wikset Enterprises. He just dropped the NAH-produced Telephonebooth back in the spring & to kick off the fall, Wiki’s bringing in Navy Blue to produce his 4th album from front to back.

“Not Today” starts off with a misty piano loop talking about how he “can’t let it end this way”, but then “Roof” works in a more calmer sample speaking on turned his roof into his private quarters. “Remarkably” takes a boom bap turn flexing his lyrical prowess leading into Navy Blue actually hopping onto the mic for the soulful “Can’t Do This Alone” to help say they gonna ride or die for the game.

Meanwhile for “Never Fall Off”, we have Wiki on top of a psychedelic guitar instrumental saying he’ll forever be on top just before “Drug Supplier” with Jesse James Solomon brings in an orchestral loop telling the story of a pusher. “Wik da God” gets back on the bravado tip over a more haunting instrumental whereas “Ego Death” brings in a hypnotic vocal sample encourage listeners to free themselves.

“The Business” charmingly follows it up by telling listeners to get with the program while “Home” starts off with the sounds of cars passing by, but transitions into something more lavish talking about being in his element. Earl Sweatshirt tags along for the harmonious “All I Need” talking about life & what comes with it, but then Remy Banks jumping on top of a slick guitar lead to talk about the world knowing them for “Gas Face”.

MIKE comes into the picture for the slick “Promised” cryptically providing introspection while the song “New Truths” is a boom bap heater talking about hip hop’s effect on him throughout his life. The penultimate track “Still Here” looks back on his youth over a dusty yet lush beat & finally, “Grape Soda” rounds it out with some vocal harmonies in the background talking about better days.

Coming from someone who’s been following Wiki for a few years at this point, I consider him to be one of those artists where he gets better with time & he further solidifies that on Half God to the point where I feel like it surpasses both it’s predecessors to become his greatest LP. Outside of a couple lackluster features, I feel like it contains some of his best songwriting to date & Navy Blue’s drumlessly jazzy production is incredibly detailed.

Score: 4/5

Lucky 7 – “Lucky & the Laser Gun” review

Lucky 7 is a 35 year old MC/producer from Buffalo, New York who I first started noticing after he laced what I personally believe is one of the mort underrated Conway the Machine singles ever: “Temple”. But he’s dropped a total 2 albums, a mixtape & 3 EPs since then before signing to Drumwork Music Group over the spring of this year. And now with only 8 dates left on the Love Will Get You Killed Tour, it’s only right for Lucky to prelude his upcoming debut on Con’s very own EMPIRE imprint with his 4th EP.

After the intro, the first song “Nuke Dropper” works in a blaring boom bap instrumental to tell his opposition to get the fuck out of his way whereas “You Gotta Make It” has a more uptempo vibe encouraging listeners to getting theirs. “Motorbike Music” takes a more luscious turn with Luck & Elcamino proclaiming themselves as rebels, but then Flee Lord tags along for the morbid “Orange Soda” talking about their young shooters.

Meanwhile on “Metal Arm Tesuo”, we have Luck & Jae Skeese wickedly bragging about their extraordinary skills leading into “Kaneda Loves Kei” soulfully pays tribute to his lady. The song “Snoopy’s Penthouse” smoothly details the lavish lifestyle while the penultimate track “Playgrounds” has a more grimier sound with the help of Stu Bangas & Elcamino returning to help shoutout those who’ve been there since the beginning. “Goodbye to Your Life” ends with some strings & lyrics about getting the millions if you follow him.

Coming away from Lucky & the Laser Gun, it’s definitely a solid precursor to Lasertron Arcade. I think the anime concept is well executed, I fuck with the wide range of emotions throughout it’s 24 minute run & how Lucky brought in some fresh faces behind the boards for him to showcase his penmanship to new listeners.

Score: 4/5

King Klick – Self-Titled review

The King Klick is a West Coast supergroup consisting of Chucky Chuck, Johnny Richter & Obnoxious. 2 of the members have already made themselves household names with the Malibu-based independent powerhouse Suburban Noize Records by lending their hands in founding the groups DG@F & Kottonmouth Kings respectively, but the other is a bit of a fresh face to the label after signing to them about a year & a half ago. However with a few well received singles under their belts so far, the Klick’s finally dropping their eponymous debut EP after much anticipation.

“Throne of Spades” is a soulful boom bap opener reminding listeners how they do whereas “Subnoize O.G.’s” rightfully proclaims themselves as a such on top of a g-funk instrumental. “Everyday” is a epic 7 & a half minute posse cut showcasing a majority of the current Suburban Noize roster while the song “Who’s Next?” apocalyptically talks about slaughtering shit. The penultimate track “Spaceships” with Lil Saint & Underrated has a bit of a robotic beat getting on their weed shit, but then “We Want It All” with Madchild & M.C.U.D. ends the EP with a grimy trap banger getting at their enemies.

I’ve been looking forward to this EP from the very first time I heard that closer when they dropped it as the lead single over the spring & my God, did they deliver. The chemistry between the trio comes off as natural than forced, each member stands out in their own unique way & the production has a little something for everyone. Suburban Noize really gave their fans a true celebration of their legacy with this one.

Score: 4.5/5