Reason – “New Beginnings” review

This is the official full-length studio debut from Carson, California emcee Reason. Someone I first caught wind of a couple years ago when he signed to Top Dawg Entertainment & reissued his 4th mixtape There You Have It. The project was cool, but I feel like he could grow as time went on because we all know TDE‘s lineup of artists are mostly all-stars. But with a slew of singles throughout the year, Reason is ready to make New Beginnings.

The opener “Something More” talks about his deepest desires in a significant other over a cavernous instrumental whereas the next song “Stories I Forgot” talks about not missing over a flute-tinged beat. The track “Pop Shit” with ScHoolboy Q finds the 2 talking about riding with their hoods over an instrumental with a murky atmosphere to it while the song “Show Stop” flexes over a druggy trap beat from !llmind.

The track “Favorite N***a” talks about money not changing him over a weary instrumental while the song “I Can Make It” with Rapsody sees the 2 getting romantic over a moody boom bap beat from S1. The track “Fall” talks about the difficulties of being an artist over some keys & occasional drums thumping away while the song “Slow Down” talks about needing to appreciate ones’ process over a boom bap beat with an alluring sample hanging in the background.

The song “Flick It Up” with Ab-Soul finds the 2 bragging over a spacious instrumental while the track “Sauce” with Vince Staples sees the 2 talking about being bosses over a trap beat with some somber keyboard melodies. The song “Extinct” with Isaiah Rashad & J.I.D finds the trio talking about a “doorbell dumb” vixen over a calming boom bap instrumental while the track “Westside” is another romantic cut like “I Can Make It”, but the vibe on this one is kinda eh. The penultimate song “Gossip” claps back at those who be saying “fuck him” & then the closer “Windows Cry” addresses the elephant in the room over a melancholic Wu10 beat.

Reason could very well be the underdog of TDE & this album only goes to show it in my opinion, because there are some notable improvements in comparison to his previous mixtapes. The pen-game has stepped this time around, a good majority of the features are on point & it’s a bit more well-produced as well.

Score: 3.5/5

Rittz – “Picture Perfect” review

This is the 6th full-length album from Gwinnett County, Georgia emcee Rittz. Rising to prominence in 2011 with his White Jesus mixtape, the acclaim of that 1 single project led to him signing to Strange Music & releasing a total of 4 albums on there with each one showing his growth both musically & personally: The Life & Times of Jonny Valiant, Next to Nothing, Top of the Line & Last Call. Rittz would go on to form his own label CNT Records & dropped his first album on there Put a Crown On It last year on Black Friday but now, he’s already back with Picture Perfect.

The opener “Picture This” sets the tone for the whole thing as Rittz comes through with a lengthy diatribe backed by a 2000’s Dr. Dre-type beat whereas the next song “‘Till the End” talks about his legacy over a trap beat with some funereal piano chords. The song “Ain’t I” talks about being the truth over a trap instrumental that almost has a Three 6 Mafia feel to it while the title track with Tech N9ne sees the 2 in their shit-talking bag over a rap rock beat.

“Jesus Blanco” could very well be one of Rittz’ worst songs yet as he & Nawf6od rap about nothing over a comatose instrumental, but “Fucked Up Day” is his own, mediocre rendition of Keith Murray‘s “Bad Day” produced by MIKE SUMMERS a.k.a. 7. The song “Geek Monster” gets romantic as such over a moody beat & a cringey ass hook while the track “Hell & Back” with Doobie finds both of them discussing their trials & tribulations over a guitar, organ, whistles & some hi-hats.

The song “Friend Zone” is another love tune that’s just as tedious as “Geek Monster” while the track “Positive Vibe” with Twisted Insane sees the 2 talking about coming from the slums over a cavernous beat. The song “Pain Killers & Paint Colors” with Chris Webby talking about money over a slick instrumental while the penultimate track “Bring Me Down” with Merkules & Snak the Ripper sees the 3 downplaying any negativity over a grimy C-Lance beat. The album ends with “Saved My Life”, where Rittz talks about how music has helped him over a mellow instrumental.

Yeah, I’m pretty indifferent towards this new album at the end of the day. Rittz has definitely become one of my favorite southern spitters in recent memory, but I could’ve done without a couple of the features & the production choices for the most part are pretty weak in comparison to his previous efforts.

Score: 2.5/5

Papoose – “Endangered Species” review

Papoose is a 42 year old MC from New York City who rose to fame by dropping a slew of mixtapes throughout the 2000s. His full-length debut The Nacirema Dream finally saw the light of day in 2013, which was followed up with You Can’t Stop Destiny in 2015 & then Underrated at the beginning of last year. However, Papoose has decided to enlist Brady Watt to produce a bulk of his 4th full-length album over here.

The album kicks off with “Billionaire”, where Papoose talks about getting a big bag out of this rap shit before time runs out over some keyboards & organs with the drums popping in midway through while the next track “Boxcutter” talks about having the deadliest pen of them all over a deadly boom bap beat. The song “Cobra Scale” brags about how he’s living over a harp loop while the track “Kickback” with Conway the Machine & French Montana sees the 3 spitting battle bars over a luxurious instrumental.

“The Human Body (The Brain)” is a full-blown science lesson with a dystopian beat while the song “COVID-19” gives a run-down of the ongoing pandemic backed by a ghostly instrumental. The track “Maturity” pays tribute to his wife Remy Ma over some piano chords while the song “Hate Be Real” talks about those who’re envious of him over a rock inspired beat.

The following track is a killer sequel to Numerical Slaughter” accompanied by some strings while the song “Antidote” compares his raps to just that over a whimsical beat. The penultimate track “Workin'” over an creepy instrumental from DJ Premier & then the closer “Tribute” pretty much freestyles over 50 Cent’s “Many Men (Wish) Death” paying homage to those who were murdered by corrupt cops.

This dude’s last 3 albums have been either hit or miss with me personally, but I think this might be his best one to date. The production on here is a lot more consistent to my surprise & Papoose’s lyrical talents are still as off the way as they were when he first came up.

Score: 3.5/5

Jay Electronica – “Act II: Patents of Nobility (The Turn)” review

This is the surprise sophomore album from New Orleans emcee/producer Jay Electronica. Fans had waited 13 years for him to drop a full-length album ever since his debut EP Act 1: Eternal Sunshine (The Pledge) & we finally got that in the form of شهادة مكتوبة back in March of this year, which was a collab effort with JAY-Z. But after leaking online recently, Jay has decided to officially drop the OG version of the album.

“Real Magic” talks about accepting oneself over a bare piano instrumental while the next song “New Illuminati” talks about being just that over a churchy beat. After the “Patents of Nobility” interlude, the track “Life on Mars” pays tribute to Erykah Badu over some synths. The song “Bonnie & Clyde” shit-talks on those faking over a sample of the Serge Gainsbourg joint of the same name while the track “Dinner at Tiffany’s” is essentially “Shiny Suit Theory” off شهادةمكتوبة.

The song “Memories & Merlot” reminisces on all the moments in his life that he cherishes over a settle, psychedelic beat while the track “Better in Tune” gets confessional over an angelic instrumental. The song “Letter of Falon” talks about climbing the highest mountain himself over some hi-hats & claps while the track “Road to Perdition” with JAY-Z sees the 2 making a number of references to the Tom Hanks film of the same name over a triumphant beat.

“Welcome to Knightsbridge” flexes his rapping prowess over a hypnotic instrumental while the track “Rough Love” gets raunchy over a beat with some stunning choir vocals. The song “Night of the Roundtable” talks about feeling his hunger growing over some claps & keyboard embellishments while the penultimate track “Run & Hide” is a stunning R&B duet with The Bullitts that tells the story of a woman who escapes from her problems. The closer “10,000 Lotus Petals” is just a wonderful orchestral piece with no Jay presence at all.

To be honest, I think this is his true debut album & I’ll even go as far to say that it’s better than شهادةمكتوبة. Sure it can sound dated at times, but the production on here is a lot better in comparison & Jay Electronica lyrically was at his best during this point in time.

Score: 4/5

6 Feet Under – “Nightmares of the Decomposed” review

This is the unlucky 13th studio LP of original material from Tampa, Florida death metal band 6 Feet Under consisting of bassist Jeff Hughell, drummer Marco Pitruzzella, lead guitarist Ray Suhy, secondary guitarist Jack Owen & finally frontman Chris Barnes. The latter of whom co-founded Cannibal Corpse, dropping some of the greatest material throughout one of metal music’s extreme subgenres including Tomb of the Mutilated & The Bleeding under Metal Blade Records. Chris would eventually be fired during the Created to Kill sessions & that’s what lead to Haunted dropping. Maximum Violence however has always been my personal favorite, although Nightmares of the Decomposed was poised to be as unbearable as the Graveyard Classics series of covers.

“Amputator” begins with this forgettable death metal/death ‘n’ roll intro talking about severing limbs whereas “Zodiac” continues with laughably bad mutation of death ‘n’ roll & groove metal & that’s because of Chris’ vocals. “The Rotting” unfortunately doesn’t make anything better pronouncing the titular word using this grating “EEEEE” just before “Death Will Follow” gargles about one’s demise coming after their throats are slit.

We get some more meat & potatoes death metal on “Migraine” delivering some of the most unintelligible vocals on the entire full-length ironically summing up how it feels listening to it leading into “The Noose” being a further exemplification of Chris Barnes’ decline in terms of performances bringing back the nauseating “EEEEE” bullshit from “The Rotting” to end the 1st half. “Blood of the Zombie” goes death ‘n’ roll mode again to put us inside the shoes of the undead in a below average manner & “Self Imposed Death Sentence” feels like being in the way of his own progression.

“Dead Girls Don’t Scream” winds down the last act of this chore of an LP detailing him murdering a slut because he couldn’t go on without her & no one else having her if he couldn’t while “Drink Blood Get High” details him being amongst the dead with a gorging urge to kill. “Labyrinth of Insanity” cautions there being no way out of this maze of torture and deceit that’s really a pit to hell & darkness, which is false because “Without Your Life” finally puts Nightmares of the Decomposed out of it’s misery remorselessly killing someone in a frenzy.

A lot of 6 Feet Under’s output for the last 2 decades have come NOWHERE close to their earlier output in terms of enjoyability but if there was a moment in their career where they would make something as equally hideous as their cover series, Nightmares of the Decomposed takes the cake with what could likely be regarded as one of if not THE worst death metal ever recorded. The production including secondary influences of death ‘n’ roll & groove metal doesn’t really add anything to those particular styles & Chris Barnes’ vocals reach a brand new low of embarrassment.

Score: 0/5

21 Savage – “Savage Mode II” review

This is the brand new & highly anticipated album from London, England, United Kingdom born albeit Atlanta, Georgia raised rapper, songwriter & occasional producer 21 Savage. Coming on my radar by appearing on the iconic 2016 XXL Freshman Class list, he continued to make a household name for himself in the current trap landscape by dropping his 2nd EP Savage Mode with Metro Boomin’ producing it in it’s entirety shortly after. Then came his full-length debut Issa Album & an incredible collab album he did with Offset called Without Warning the following year, but it wouldn’t be until the end of 2018 where 21 dropped his most mature work to date with i am > i was. Fast forward a little over a month later, he was arrested by ICE after it was revealed that he was born in the UK & stayed in the US on an expired visa. Luckily, he was freed 10 days later & has been laying low for the most part since then. However, 21 is reuniting with Metro for a sequel to Savage Mode.

After the Morgan Freeman intro (who narrates the whole album), the first song “Runnin’” talks about buying a Hollywood bitch over a best sampling of Diana Ross’ “I Thought It Took a Little Time (But Today I Fell in Love)” while the track “Glock in My Lap” talks about being strapped everywhere saying y’all more pussy than Tesla CEO, SpaceX founder & Neuralink founder Elon Musk over a haunting instrumental from Honorable C.N.O.T.E. & the So Icey Boyz. The song “Mr. Right Now” with Drake sees the 2 getting raunchy over a wavy beat while the track “Rich Nigga Shit” with Young Thug finds both of them getting materialistic over a spacious instrumental.

The song “Slidin’” spits that gun talk over a ghostly beat while the track “Many Men” is pretty much his own version of 50 Cent’s “Many Men (Wish Death)” down to sampling the actual joint itself. After the “Snitches & Rats” interlude, the actual “Snitches & Rats” song itself Young Nudy take aim at 6ix9ine then the track “My Dawg” pays tribute to Nipsey Hu$$le over a trap beat with some melancholic keyboard passages.

The song “Steppin’ on N****s” gets bloodthirsty over a beat that kinda has a dirty south feel to it while the track “Brand New Draco” gets boastful over a vibrant beat. The song “No Opp Left Behind” talks about corrupt cops over an instrumental with an apocalyptic atmosphere to it while the penultimate track “RIP Luv” talks about giving up on romance backed by a mournful beat with some co-production from Zaytoven. The album finishes with “San N Done”, where 21 ponders if this new chick is gonna ride for him over a nightly instrumental.

We all know that many sequel projects don’t exactly live up to the hype of the predecessor, but this is definitely an exception. 21’s maturity is very much present on here as it was on his last full-length album about 2 years ago & Metro Boomin’ manages to remind listeners of his place as one of the greatest producers in the trap subgenre.

Score: 3.5/5

Sa-Roc – “The Sharecropper’s Daughter” review

Sa-Roc is a 38 year old MC from Washington D.C. who’s dropped a total of 6 albums a rarities compilation, 2 EPs & 2 mixtapes throughout the the first half of the previous decade before signing to Rhymesayers Entertainment in 2015. But after several years of singles, we’re finally being treated to her debut on the label & her 7th full-length album overall.

The opener “EmergencE” tells her haters to look at her now over a quasi-jazzy instrumental whereas the next track “Gold Leaf” flexes her prowess over a boom bap beat with a well-incorporated flute. The song “Rocwell America” with Styles P sees the 2 tackling the corruption in our country over a beat with a somewhat mystical vibe to it while the track “Something Real” talks about wanting to get to know her partner over a sample of Alicia Keys’ “You Don’t Know My Name”.

The song “Hand of God” talks about proving one’s authenticity over a boom bap beat with an old school video game feel to it while the song “Deliverance” talks about elevating in a stress-free zone over a nocturnal instrumental from Evidence. The song “Lay It Down” talks about counting your blessings over an operatic beat while the title track over a funky, psychedelic beat. “The Black Renaissance” with Black Thought is a phenomenal ode to the Black Lives Matter movement with a piano-inflicted beat while the song “r(E)volution” talks about nothing’s gonna change but them over some popping drums & what sounds like a bass guitar.

The track “Goddess Gang” talks about being royalty over some horns & plinky keys while the song “Forever” talks about being a star over an slow beat. The track “40 & a Mule” comes through on the battle bar tip over a beat with a nice, faint background vocalist while the song “Dark Horse” talks about how they can’t deny her strength anymore over a thumping instrumental. The album finishes with “Grounded”, where Sa-Roc talks about being right about herself over a J Dilla inspired boom bap instrumental.

To me, this is Sa-Roc’s magnum opus & I think it further solidified her as one of the illest female spitters hip hop has to offer currently. The production is a lot more refined in comparison to her previous efforts & the listener gets a great look into her upbringings.

Score: 4/5

Westside Gunn – “WHO MADE THE SUNSHINE?” review

Westside Gunn is a 38 year old MC & entrepreneur from Buffalo, New York who broke out in 2016 with his near-perfect debut album FLYGOD. He would go on to take over the culture with his brother Conway the Machine & their cousin Benny the Butcher as all 3 of them have consistently dropped a slew of high quality releases both solo-wise & as a trio over the past 5 years. However, Westside has stated on numerous occasions that he’ll quit making music after 2020 & has released 2 albums since the year started: Pray for Paris & FLYGOD is an Awesome God II. But with Hitler Wears Hermes VIII set to drop at the end of the month, Westside is delivering his highly anticipated Shady Records album.

After the “Sunshine” intro, the first song “The Butcher & the Blade” with Benny & Conway named after the AEW tag team finds the trio talking about God having them winning over a boom bap beat from Daringer & Beat Butcha with some rapid keyboard arpeggios referencing former 4-time WCW World Television Champion as well as 2-time WWE Intercontinental Champion, 3-time WWE Hardcore Champion & 4-time WWE tag team champion William Regal whereas the next track “Ishkabibble’s” with Black Thought sees the 2 talking about pushing over an eerie instrumental.

“All Praises” sounds like a leftover from Boldy James’ The Price of Tea in China down to the Alchemist beat as Westside Gunn only handles the hook while the track “Big Basha’s” talks about there being blood & brains everywhere over a somber boom bap instrumental. The song “Liz Loves Luger” with Armani Caesar finds the 2 talking about wanting loyalty from their partners over a luscious beat while the track “Ocean Prime” with Busta Rhymes & Slick Rick sees the 3 talking about chopping dudes into pieces later referencing the greatest WWE superstar ever; 7-time world champion, 7-time tag team champion & WWE Hardcore Champion The Undertaker over a forlorn instrumental.

The song “Lessie” talks about how they’re still getting paid over a wavy beat while the track “Frank Murphy” with Elcamino, Estee Nack, Flee Lord, Smoke DZA & Stove God Cook$ is an epic East Coast posse cut with a wailing instrumental. “Good Night” hooks back up with Slick Rick to get in their storytelling bag over a beat with some ominous keys & then the closer “98 Sabers” is a vicious showcasing of the Griselda roster & the Just Blaze instrumental fits perfectly, but I wonder why Boldy James isn’t on here.

Not a bad album, but it could’ve been better in my personal opinion. It’s pretty much a slightly better version of FLYGOD is an Awesome God II as there are a lot of features & a couple of questionable production choices on here. Here’s to hoping Hitler 8 will be much better.

Score: 3.5/5

TR Dee – “Trapped in My Bag” review

TR Dee is a rapper from Ypsilanti, Michigan notable for being 1/3 of the ShittyBoyz alongside Babytron & Stanwill. Signing to Detroit music executive Lando Bando’s own The Hip Hop Lab Records as a group & as solo artists, the time for him to become the 3rd & final member of the trio that co-founded the Dog $hit Militia to branch out on his own has arrived with him releasing a debut mixtape a little over a couple months since Stanwill became 2nd at bat with his highly acclaimed debut EP $camwill.

The title track starts with some 808s & bells talking about nobody else from the city being able to fuck with him whereas “On a Boat” hooks up a more uptempo Detroit trap instrumental to admit he hasn’t been the same since Kobe Bryant’s death. “Wakanda” featuring Kasher Quon talks about their only fear being going broke while “Groove” suggests glasses for those who ain’t seeing the Ws they’re catching.

“Me vs. Me” goes for a cavernous Detroit sound talking about himself being the only competition while my 2nd favorite song “Big Show” by the ShittyBoyz produced by Danny G references current AEW performer & commentator as well as former 7-time WWE world champion, 11-time WWE Tag Team Champion, WWE Intercontinental Champion, WWE United States Champion & 3-time WWE Hardcore Champion Paul Wight.

Danny G sticks around for another standout track “Run To” promising that he’ll ball until he can’t anymore while the funereal “It’s Not Easy” talks about living today up because he might not see tomorrow over more 808s & bells. “Malice at the Palice” refers to the most infamous NBA brawl of all-time but once the 2 & a half minute “Party Pooper” bodies a Stanwill instrumental pulling from electro, “Billie Jean” ends by sampling the hit Michael Jackson single of the same name.

Similarly to Bin Reaper last Halloween season & $camwill a few months earlier, Trapped in My Bag counts down the 4th quarter of what’s been an unbearable year for many others by proving that TR Dee has as much of a promising solo career as Stanwill despite Babytron becoming the most popular ShittyBoy of the 3. In terms of the production, we’re still getting some creatively used samples brought into the fold & the Ypsilanti native holds his own weight to warm up for Sleeve Nash this Halloween.

Score: 4/5

Lord Goat – “Final Expenses” review

Lord Goat is 46 year old MC most known for being a member of the seminal New York underground quartet Non Phixion. His 2004 solo debut The Art of Dying is a certified underground classic & it wouldn’t be until 9 years later when it was followed up with Electric Lucifer. He just dropped Coffin Syrup back in March & now 7 months later, here we are with a brand new EP produced entirely by Stu Bangas.

The opener “Red Asphalt” talks about murder over an icy instrumental whereas the next song “Infernal Majesty” with Vinnie Paz sees the 2 talking about being top notch spitters over an unsettling boom bap beat. The track “Devious” talks about how psycho he is over an ominous instrumental while the song “Mystics in Bali” with Ill Bill finds the 2 talking about Satanic antics over a grimy beat.

The track “AGC” with NEMS sees the 2 bragging & talking their shit over a demented instrumental while the song “Live from Mexico” with Blizz, Ill Bill & Spit Gemz finds the 4 talking about mobbing on dudes over an frightening beat. “The Neighborhood” with Apathy sees the 2 talking about what it was like growing up in their hometown over an hair-raising instrumental while the penultimate track “John Stamos” talks about engaging in criminal activity over a spooky beat. The EP finishes with “Glasses Onion”, where Lord Goat & Recognize Ali talk about carving up their competition over a heinous instrumental.

I think Final Expenses is the best thing that Lord Goat has put out ever since he returned to the rap game & I’ll even say it’s right behind The Art of Dying for his magnum opus. He sounds as relentless as ever on the mic & Stu Bangas does a great job at providing a great musical backdrop for him as well.

Score: 4/5