Curren$y – “Collection Agency” review

This is the 21st EP from New Orleans veteran Curren$y. Getting his start with No Limit Records in 2002, would then hop over to Young Money Entertainment & Cash Money Records in 2006 before branching out in 2008 with his own label Jet Life Recordings. He has made a name for himself by dropping a handful of projects every single year, the most recent being an EP trilogy with Harry Fraud that was released throughout the 2nd half of 2020. However 3 months later, we’re diving right into Collection Agency.

The EP starts out with “Kush Through the Sunroof”, where Spitta talks about being in an armored Mercedes over a bluesy trap beat from Trauma Tone. The next song “Smiled on Me” talks about his ancestors looking down on him from above over a glamorous instrumental from DJ Fresh while the track “Arrival” talks about pulling up stoned over a jazzy beat from Harry Fraud himself. The song “I Don’t Call” talks about the shit he has that never uses over a synth-laced trap instrumental from Purps while the track “Jermaine Dupri” boasts over a glossy beat.

The song “Closing Date” gets in his shit-talking bag over a smoked out instrumental while the track “Shout Out” with Larry June finds the 2 showing love to the real over a comatose beat. The song “Ferrari Engine” talks about leaving the block trembling over a stripped-back instrumental while the penultimate track “Above the Law” talks about how they don’t want a war over a soul sample provided by Rrsonist of The Heatmakerz. The EP finishes off with “Misty”, where Curren$y talks about how the Chevy’s on switches over a trap beat with some horns laced in.

It’s not one of my favorite projects Spitta has ever put out, but I do find Collection Agency to be an enjoyable EP for the most part. He still manages to do a good job at balancing quantity & quality as his flows are still silky smooth this deep into his career & his ear for production remains top notch.

Score: 3.5/5

Baby E & Ouija Macc – “We Never Forgot” review

This is the brand new collaborative mixtape from West Coast rappers Baby E & Ouija Macc. One is a Lil Wayne protege signed to the icon’s Republic Records imprint Young Money Entertainment & the other is an Insane Clown Posse protege signed to their independently-owned Psychopathic Records. I don’t think the duo have ever worked together in the past, so I was very curious to hear how they would play off one another on We Never Forgot.

The tape kicks off with “Bands Won’t Stop”, where Baby E & Ouija talk about how the money will always come in over a trap beat with some teary piano melodies. The next song “Like Yuh” talks about keeping the drama away from them over a woozy instrumental while the track “(I Don’t Like Life) Anymore” talks about suicide over a crazed beat from Devereaux. The song “Different Mindset” gets romantic over a more voluptuous, poppy instrumental while the track “For Good” interprets the title in a few clever ways on top of an orchestral beat.

The song “1 for Me” talks about women who don’t know what they want from them over an acoustic guitar backed by some snares while the track “Overnight” talks about how Rome wasn’t build in a day over a rubbery beat. The song “It Be Like That Sometimes” talks about life being a carnival over a cloudy trap instrumental while the penultimate track “Mitosis” talks about killing everything in site over a monstrous Devereaux beat. The tape finishes off with “Got Somebody”, where Baby E & Ouija talk about being there when their homies are down over an acoustic-tinged trap instrumental.

Out of all the collaborative projects Ouija has put out in the past few years, this is easily my favorite of the bunch. It’s understandably a lot more melodic in comparison to his previous material & I commend him for stepping out of his comfort zone on that, but he & Baby E also do a good job of playing off each other. If these guys plan on working together more down the road, then I’m all for it.

Score: 3.5/5

Intrinzik – “Lasers & Poison” review

Intrinzik is a 43 year old rapper from Phoenix, Arizona most notable for being the founder of Underground Hustlin’. Aside from that, the dude has put out a total of 9 albums & 3 EPs through his own label Intrinz Ink Records since 2004. But for his 10th full-length effort, Intrinzik is getting it backed by none other than the Majik Ninja Entertainment sub-label Welcome to the Underground.

The album kicks off with the title track, where Intrinzik talks about commercial sponsors feasting on inhibitions over a rap metal beat. The next song “Dinosaurs” talks about devouring these other rappers over some heavy guitars while the track “Force Fed Famine” talks about watching the market collapse like skyscrapers over a dreary backdrop fused with some hard rock instrumentation. The song “Chemicals” talks about paying it forward genetically over a punky beat while the track “Lizard Tongues” talks about overdosing on power over some live drumming & chugging guitars.

The song “Heart of the Table” with Dienasty the Mexican Thuggalo sees the 2 talking about the 3rd world over an instrumental that almost has a bit of a nu metal influence to it while the track “Lied To” ponders what’s real & fantasy over a riot-inducing beat. The song “Amphetamine Suicide” talks about drug usage over some thick instrumentation while the track “Broadcast the Apocalypse” takes aim at television as a whole over some Hellish riffs.

The song “Losing My Mind” with Twiztid finds the trio talking about insanity over a robotic instrumental while the track “Built for This” talks about annihilating anything that comes after him over a chaotic beat. The song “Try to Stay Alive” with Skeptik sees the 2 talking about survival over some more punk rock flavored production while the track “End of the World” with McNastee finds the duo talking about living in the apocalypse over a hard rock instrumental.

The song “First World Problems” with Krypto Man sees the 2 talking about that very issue over a somewhat thrash-esque instrumental while the penultimate track “The Right to Vote” with Bisshop & Raw-D finds the trio talking about how they use music as their weapon & I love how the build-up in the production. The album finishes off with “Toy Gory 2”, which is a decent 8-minute Underground Hustlin’ posse cut.

If you wanna get into Intrinzik, I would recommend starting with this because I find it to be his best work to date. Not just because of how the sound of the album continuously bounces from metal & punk to straight up hip hop, but his songwriting on here in comparison to his previous material is a lot more conscious this time around.

Score: 3.5/5

Payroll Giovanni – “Another Day, Another Dollar” review

Payroll Giovanni is a 32 year old rapper from Detroit, Michigan who came up about a decade ago as a member of the Doughboyz Cashout collective. He’s also released a total of 8 solo albums, most notable being the Cardo-produced Big Bossin’ & Big Bossin’ 2. But just a month after the 3 year anniversary of the latter, the pair are reuniting for the 4th time to put out Payroll’s 9th full-length effort.

The album kicks off with “Previously”, where Payroll recaps everything that’s happened to him in the past 3 years over a West Coast-flavored beat. The next song “It’s Around” talks about making himself a boss over a nightly instrumental while the track “Eyez Closed” talks about counting money like it’s nothing over a beat with a more Bay Area influence to it. The song “Always Hustling” talks about never slowing down over a smooth instrumental while the track “Mob $hit” with Larry June sees the 2 talking about what they be on over a ritzy beat.

The song “Everyday” talks about grinding nonstop over a straight up g-funk instrumental while the track “Make It Look Easy” talks about going from rags to riches over a delicate beat. The song “Game Showed Me” talks about dudes being iffy to him over a keyboard-heavy instrumental while the penultimate track “Pay & Cardo” talks about giving the listeners what they want over an atmospheric beat. The closer “Forever Flow” then talks about how his grandma used to give him money to flip over a synth-heavy beat.

Payroll always puts out his best material whenever he hooks up with Cardo & this is a great follow-up to Big Bossin’ 2. I really dig how both parties took it back to the 90’s West Coast gangsta rap era from the overall sound of the album to the lyrics & for those who aren’t familiar with Payroll, it’s almost like you’d think he’s actually from Southern California.

Score: 4/5

Rome Streetz – “Death & the Magician” review

Rome Streetz is a 34 year old MC from New York who broke out in 2016 off his debut mixtape I Been Thru Mad Shit. This was followed up by a plethora of projects, most notably the Noise Kandy tetralogy & Headcrack. He just dropped a dope project with Farma G on his birthday a few months back called Kontraband but as we close out the 2nd month of 2021, Rome is dropping his 5th full-length album produced entirely by DJ Muggs.

After the “6 of Cups” intro, the first song “Prayers Over Packages” talks about never slacking off over an otherworldly beat whereas the next track “Ace of Swords” talks about getting pieces to the puzzle over a gully instrumental. “The Manuscript” talks about his mind being focused on the money over a glum beat while the song “High Explosive” compares himself to a bomb over some horns.

The track “Zig Zag Zig” with Knowledge the Pirate finds the 2 talking about putting bitches in their place over a violin-tinged beat while the song “Stone Cold Soul” talks about clapping shit over a macabre instrumental. “The Devil’s Chord” talks about how the nights where he had nothing we’re eating him up inside over some ghoulish keyboard melodies & the sound of winds gusting by while the track “Shooting at the Dance Hall” gets on some disrespectful shit lyrically on top of a native-flavored beat for lack of a better term.

The song “Wheel of Fortune” talks about moving in silence over a Bollywood style instrumental while the track “Horn & Halo” with Rigz sees the duo talking about being conflicted since birth over a guitar & some eerie background vocals. The closer “Fly Obnoxious” talks about going all out for his rep over an malevolent boom bap beat & then the bonus cut “Fuck You Know About Me?” talks about preferring fetti over fame over some jazzy horns.

I’ve always said that Headcrack is Rome’s magnum opus, but Death & the Magician is even better. The way he continues to put words together (especially multi-syllable rhyme patterns) is like no other & it’s really cool to hear Muggs providing a wide range of sounds for him.

Score: 4.5/5

Roughneck Jihad – “The Little Assassination Handbook” review

South Bay Area, Northern California emcee Roughneck Jihad making his Boot Records debut with his 2nd extended play. A member of the trio 3rd Sight, he would go on to drop 7 full-length studio LPs along with his previous EP Disco Sinistro in 2018 & the debut mixtape Red Herring that same year in over a decade. Brussels, Belgium producer Senz Beats has been enlisted to fully produce The Little Assassination Handbook & that didn’t wane any excitement I had for the fact an American artist would be joining Boot.

“Endearing” spends the opening 2 minutes talking about continuing to make the people cheer because it’s lovable for him whereas “Half Man Half Amazo” works in a lo-fi piano instrumental to boast that he can singlehandedly rip crews apart. “Smiling” wittingly talks about his refusal to pillage a village when muhfuckas are playing scrimmage just before “Catastrophe” dustily wraps up the 1st half cautions that going against him in a battle won’t end well for his opponents.

Meanwhile on “Cold Blood”, we have Jihad the Roughneck MC continuing the 2nd act of the EP hopping over a sample-driven boom bap beat talking about needing tons of cash for his impending domination of the rap game while “Ill Still Build” discusses the greats standing tall because of them painting masterpieces & maintaining longevity. The title track properly concludes The Little Assassination Handbook with a 114 second boom bap outro warning the unbroken chain can still snap back.

Over a decade since his debut E Pluribus Urine, the Disgruntled Sound Recordings founder comes off Micall Parknsun’s 2nd EP Back in Business a couple months earlier to drop the best thing he’s ever done by himself under the Manchester, England, United Kingdom indie label who once signed King Kashmere & Ramson Badbonez. The production Senz Beats cooks up is some of his most pleasant production & it’s refreshing for the west coast vet to diversify Boot Records’ roster.

Score: 4/5

Asun Eastwood – “P.I.M.P. (Prophecy Is My Present)” reivew

Asun Eastwood is a 38 year old MC from Toronto, Ontario, Canada who came up as part of the Brown Bag Money collective. His 2017 debut mixtape Hollywood Briggs was a good introduction, but it wouldn’t be until 2 years later after dropping his Finn-produced debut album With All Due Respect where he would come to my attention. He just dropped Let Me Talk My Shit a couple months back & to celebrate his birthday, Asun has enlisted THETWINNING for his 4th full-length album.

The title track that starts things off tells God to look at him now over multiple beat switches that’ll make you feel like you’re riding like a roller coaster whereas the next song “Stillness is a Skill” with Lord Juco finds the 2 talking about their spirits being imprinted & not accepting failure over a swanky instrumental. The song “TeamWork Glow” talks about how “it costs a lot to get it on your own” over a spectral beat while the track “StepWork Glow” with Falcon Outlaw sees the duo talking about wanting paper & respect over a boom bap instrumental with some sumptuous keyboard melodies.

The song “L.O.V. (Life Of Victory)” with Lex Talionis finds the 2 talking about love over a repetitive vocal loop while the track “Framed My Pyrex Bowl” with Raz Fresco sees the 2 of course talking about whippin’ up dope over a mild boom bap beat. The song “Underrated” with Family Gang Black & donSMITH finds the trio responding to those who call them such over a lush instrumental while the track “Anfernee” with SLNC sees the 2 talking about the outcome their aiming for over a dope ass soul sample.

The song “Hurt ‘Em” with Richie aka Rapsy & Quinn the Comic finds the trio talking about murder over a downtrodden beat over while the track “Inspired by Death” pays tribute to the fallen over an elegiac instrumental. The song “Tie Ya Camel” with Rasheed Chappell sees the 2 talking about proving who you are over an inspiriting beat & then the closer “Muhammad Glow” with Maze Overlay finds the duo pondering why question things you can’t control over a steady instrumental.

To me, this is yet another example as to why Asun is the currently most hard-working dude in BBM right now. The features on here are a bit too much, but I think THETWINNING cooks up some of their best production to date & Asun still manages to rip it up on the mic.

Score: 3.5/5

MAVI – “End of the Earth” review

MAVI is a 21 year old rapper from Charlotte, North Carolina blowing up a couple years back off his well-received debut album Let the Sun Talk. His profile began to grow the following month after being featured on “El Toro Combo Meal” off of Earl Sweatshirt’s previous EP Feet of Clay & after doing features for a good bulk of 2020, the kid is returning in full effect by dropping a debut EP.

The EP kicks off with “TIME TRAVEL”, where Mavi talks about his spaceship being at full throttle over some keys & a melodic vocal sample. The next song “1,000 MILES” discusses making it this far with his gifts & that his strengths was never an effort flipping “Lady” by Gino Vannelli while the track “METHODS” talks about mulling the ways to master his municipality over some tribal drums that later builds up into a more aggressive beat. The song “LIFE WE LIVE” talks about not feeling alive by a synth-laced instrumental & then the closer “TOWN CRIER” talks about taking this shit to the moon over a saintly beat.

From start to finish, I think this is a pretty good comeback from MAVI. He does a good job detailing his growth & even though the abstract production isn’t the most cutting edge, it’s tolerable. I’m very excited to watch what he does on his upcoming sophomore album Shango.

Score: 3.5/5

SmooVth – “Amongst Wolves” review

SmooVth is a 35 year old MC from Hempstead, New York known for being a part of the duo Tha Connection alongside Hus Kingpin. But as far as his 11 solo efforts go, I recommend checking out Portrait of a Pimp as well as the Young SmooVth & Medellin duologies. The dude dropped something was the DJ Beanz-mixed rarities mixtape entitled Tha Conduit this past Christmas & now just a couple months later, he’s reuniting with Giallo Point for his 12th full-length album.

After the intro, the first song “Double Dutch” talks about using ice cream trucks to cover up them slanging dope over a dust boom bap beat with some glistening chimes while the track “Grey Heron” talks about his rapping prowess over some prominent string loops. The song “Rogue” talks about disappearing with his best friend on top of an overcast beat while the track “Nickel” talks about him & Hus “supersizing” over a funky bass-line & some opulent piano chords.

The song “Joe Blow” talks about sending “30 deep poppin’ on ya man” over a cinematic instrumental while the track “Bullet Holes” with Asun Eastwood sees the duo talking about being them dudes over a boom bap beat. The song “Boss” with Rigz finds the 2 literally talking about being mob bosses over a drumless, meditative instrumental a while the track “38 Corridor” talks about how no one’s fucking with him over a well incorporated soul sample.

The song “Real Me” talks about giving the listener a good look as to who he is over a sleek instrumental while “The Ave” talks about his family & I really dig the guitar licking in the beat a lot. The song “Mega” talks about gangsta leaning over some synths & finger-snaps while the track “Hillside” talks about not giving a fuck about a judge over a symphonious beat.

The song “Hieroglyphics” finds Tha Connection comparing their lyrics to such over some pensive keyboards glistening away in the instrumental while the track “Sparks Fly” with Big Twins sees the 2 talking about living it up over a foreboding beat. The song “Plates” with Stuyville finds the trio barring shut out for 3-minutes nonstop over a sullen instrumental & then the closer “War” talks about standing tall over some organs.

Whenever this emcee/producer duo come together, it’s always something special & their 4th outing together is no exception. Giallo Point continues to cement himself as one of the best producers that the UK has to offer currently & his sound continues to suit SmooVth’s razor-sharp lyricism best.

Score: 4.5/5

Trippie Redd – “Neon Shark vs. Pegasus” review

Trippie Redd is a 21 year old rapper from Canton, Ohio who rose to prominence in off his first 2 mixtapes: A Love Letter to You & A Love Letter to You 2. His profile would continue to grow with projects like LIFE’S A TRIP & A Love Letter to You 3 however, the quality of his music wouldn’t begin to decline until the release of his sophomore album ! in 2019. Trippie followed it up by dropping A Love Letter to You 4 a few months later & it was a decent bounce back that gave me hope of him continuing to redeem himself. But then came the overloaded & painfully generic Pegasus this past fall, which is undoubtedly his worst body of work to date. Fast forward 3 months later, Trippie is attempting to crossover into rock territory for his 4th full-length album with the help of blink-182 drummer Travis Barker.

The album kicks off with “PILL BREAKER”, where genre: sadboy teams up with blackbear to talk about drugs over a trap beat with a faint electric guitar in the background. The next song “WITHOUT YOU” talks about going insane if this woman leaves him over a pop punk instrumental while the track “SWIMMING” lyrically is based on the famous Dory quote from Finding Nemo over a headbanging beat. The song “FEMALE SHARK” expresses Trippie’s desire to have a fearless woman in his life over a bass guitar & some live drumming while the track “GERONIMO” with Chino Moreno of all people sees the 2 talking about protecting their significant others over a heavy beat.

The song “SEA WORLD” talks about his love for his significant other lasting forever over a fast-tempo instrumental while the track “RED SKY” by genre: sadboy discusses exes leaving them in the cold over an acoustic guitar & some drums. The song “MEGLADON” talks about being born to terrorize over a more hard rock instrumental while the track “SAVE YOURSELF” talks about fighting his demons & the riffs on here could very well be the best on the entire album.

The song “DREAMER” asks his girl what she was waiting for over a Yeezo Beats instrumental sampling the “Have You Ever Had a Dream Like This?” kid while the track. “IT’S COMING” talks about facing your fears & the instrumental sounds like early LINKIN PARK for God knows what reason. The song “LEADERS” talks about not being a believer when he was younger over a sample of the Deftones’ “Back to School (Mini Maggit)” while the penultimate track “FROZEN OCEAN” talks about feeling broken & hopeless & the instrumentation on here is somewhat a heavy version than what we heard on “LEADERS”. The album ends with “DEAD DESERT”, where Trippie enlists ZillaKami & Scarlxrd to talk about dropping dead referencing the A24 Films crime thriller Uncut Gems over a filthy trap metal beat.

You can throw this album to the ever-growing pile of rappers attempting to go rock & failing miserably at it, because I did not care for it at all. Travis Barker’s production is really the saving grace of the entire thing, as Trippie Redd’s songwriting & vocals that make it VERY hard for me to sit through.

Score: 1.5/5