Felt is a duo consisting of underground veterans MURS & Slug. The pair made their debut in late 2002 with a self-titled full-length produced by The Grouch, but would step their game up a lot much more on their 2005 sophomore effort that featured front to back production from Ant. Last we heard from them was in ‘09 with a 3rd album that was entirely produced by Aesop Rock but after a dropping a loosie earlier this week, MURS & Slug are hooking back up with Ant to drop Felt 4 U out of nowhere.
The album kicks off with “Never Enough”, where the duo talk about leveling up over a funky beat. The next song “Find My Way” talks about forever paying the price over an instrumental to cruise down the street to while the track “Don’t Do Me Like That” talks about getting into arguments with their wives over a mellow beat. The song “Trees” sees the 2 trading bars back & forth over a boom bap beat with an organ loop while the track “Through the Night” gets romantic over a sensual instrumental.
The song “Freeze Tag” is a crowd mover with a somewhat disco inspired beat while the track “Sticks & Stones” looks back on their childhoods over a heavenly instrumental. The song “Underwater” gets back on the love side of things over a fittingly aquatic instrumental while the track “Alexander F’real” continues to show their chemistry over a slick beat. The song “Hologram” with The Grouch & Aesop Rock sees the 4 talking about how they don’t give a fuck what people be hollering over what could possibly be the darkest instrumental on the whole album while the penultimate track “Crimson Skies” talk about being at the crossroads over a cinematic boom bap beat. The album finishes with “Borboleta”, where Felt talks about how far they’ve come & how far they have left down the road over an summery instrumental.
These guys have never disappointed me personally & this is a pretty damn good comeback for them. Ant absolutely kills it on the boards whereas both MURS & Slug both sound like they never left because the way they compliment each other is still as fantastic as ever.
ReadyRockDee is an MC from Bridgeport, Connecticut most known as a founding member of the group Rowdy City. He just dropped a live album not too long ago & already, here we are with the man’s debut EP.
The EP starts off with “Still I Rise”, where ReadyRockDee talks about how nothing can slow him down over a boom bap beat. “The Chosen One” talks about how he has so many blessings over a rich instrumental while the song “What I Got to Lose” talks about being the truth over a triumphant beat. The penultimate track “What You Reppin’” with Teezy Money sees the 2 showing love to their respective hometowns of NY & CT over an aggressive instrumental whereas the closer “Lit & Dangerous” talks about being just that over an airy beat.
I personally thought this was a dope EP & would love to hear a full-length from ReadyRockDee at some point in the future. His presence on the mic is more ferocious than it’s ever been & the soundscapes on here suit him well.
This is the highly anticipated sophomore album from Baltimore emcee Jay Royale, who came onto my radar not too long ago with the release of his 2018 full-length debut The Ivory Stoop. But after a couple of big features on Vinnie Paz & Daniel Son’s latest albums, he’s back on his own for The Baltimore Housing Project.
The intro is pretty much Jay setting the tone for the whole album on top of a minimal yet punchy beat whereas the next song “Thousand Gram Figero” with Skyzoo sees the 2 coming with the battle bars over an old school boom bap beat. “The Town” pretty much describes the city that he grew up on over a foreboding instrumental while the track “Skee Rack” with Ransom goes at people who doubted them over a hypnotic beat.
The song “Pearl Handle” with Ill Conscious finds both of them talking about being strapped over a beat with a grim guitar passage while the track “Tint Cruddy” with Termanology sees the 2 talking about making it over an instrumental with a heavenly loop. The song “Hate to Love It” talks about his validity over an orchestral beat while the track “Lime” with Willie the Kid talks about how no one can compete with them over a piano & some heavy drums.
The song “Levaz” talks about pushing drugs over a boom bap beat with a luxurious piano loop while the track “Reefer Clouds” paints some dark street imagery over an instrumental with a plucky guitar loop. The song “Charles S. Dutton” gets back with Ill Conscious to reminisce on their childhoods over a flute-tinged instrumental while the penultimate track “Unreasonable Doubted” talks about people doing shit behind his back over a shadowy instrumental. The outro starts off with Jay talking about trying to bring back those classic Nas/AZ vibes on top of a murky beat, but then transitions into a decent “Unreasonably Doubted” remix.
If you liked his verse on “Scorched Earth”, you’d definitely enjoy this album because it’s probably the man’s best work yet if you ask me. The production is a lot more grimier than The Ivory Stoop was & Jay Royale does a great job at taking the listener through the experiences he had in his hometown.
Stevie Stone is a 39 year old MC from Columbia, Missouri who first gained attention as one of the very last 2 artists to ever sign with Ruthless Records alongside Hopsin. Both of their full-length debuts New Kid Comin’ & Gazing at the Moonlight received little to no promotion, leading both artists to leave the crumbling label. Hopsin went on to form Funk Volume shortly after before closing shop in 2016 whereas Stevie signed to Strange Music in 2012. He eventually became one of the label’s biggest artists with albums like Rollin’ Stone, 2 Birds 1 Stone, Malta Bend & my personal favorite: Level Up. Then came the JL collab album Kontra-Band in 2018, which was really good too. But after Tech N9ne dropped his latest album ENTERFEAR this past spring, things over at Strange slowed down drastically due to the pandemic. However, Stevie is helping the Snake & Bat back in their groove by dropping Black Lion.
The album kicks off with “Set in Stone”, where Stevie talks about being unchangeable when it’s all said & done over an acoustic guitar. The next song “V.I.P.” serves as a club banger with a cavernous trap beat while the track “Type of Time” talks about being a threat over a MIKE SUMMERS a.k.a. 7 instrumental with a cool woodwind thrown in.“Underrated” vents about deserving more appreciation over a delicate instrumental while “The Worst for Me” details how this woman can’t leave him over a luxurious boom bap beat.
“Can’t Deny It” talks about a groupie wanting to chill with him over a smooth instrumental & while “Selfish” featuring Flawless Real Talk finds the 2 talking about why they’re so finicky over a vibrant beat with a woodwind sample. The track “No Permission” gives the listeners a proper clue of what his do’s & dont’s are over a druggy instrumental while the song “Teknique” featuring Tech N9ne gets sexual over an hyphy beat.
The track “Conquer” featuring Spaide R.I.P.P.E.R. is a decent mosh pit starter while the song “Jungle” featuring King Iso gets on the more braggadocious tip over a trap beat with a unique cricket loop throughout. “Dope Sick” talks about hard he be going over an intimidating instrumental from Wyshmaster while the track “Holiday” featuring Maez301 is an incredibly fun party anthem.
“Hennessy & Harmony” talks about being all in over a cloudy instrumental while the track “Vibe” featuring ¡MAYDAY! stoner’s tune backed by the reggae style production throughout South of 5th. “Some Days” speaks on having all these emotions bottled up over a piano-inflicted trap beat while the penultimate track “Still Standing” featuring Rittz finds the 2 talking about how far they’ve come over a melancholic instrumental. “Taste” ends the album opening up about how much fame has changed him over a chill beat.
Like I said earlier: Stevie Stone is one of the most prominent acts on Strange Music & this album is a fine example as to why even if it’s said to be his last under the local indie major. There are a couple of features that don’t really land with me, but you’re gonna get a good look at how much he’s changed throughout the years & the artist/person that he has become today.
Interesting to see Denver, Colorado rapper & Lyrikal Snuff Productionz founder Scum making his 12th solo album a double LP in the midst of the COVID-19 pandemic. Forming the label in 2000, he would go on to drop 11th full-lengths since including the divisively received debut Enter the Asylum as well as the more positively accepted sophomore effort Violent Verses alongside it’s respective successors Only Bodies Left Behind & Dinner’s Served. Coming off the mixed feedback of Zipper’s Creepers, it’s Out with the Old for The Gorefather.
“Talez from the Freezer” kicks things off talking about all the corpses that he’s keeping frozen whereas “Die Yung” produced by Psychopathic Records in-house producer Devereaux was a personal highlight, cautioning we’ll all meet our demise at a young age. “What It Iz” continues from there talking about this being only the beginning of one’s life no longer having meaning to it leading into “Prevail” suggesting those who aren’t on your side have no purpose having a place around him.
Majik Ninja Entertainment in-house producer Godsynth gets behind the boards for the highlight “All That Lies Ahead” talking about shooting anyone who doubts him just before “Dead Motherfuckas” advises leaving all snitches to die out since they can’t post on social media or call law enforcement. “Sinnafuck” talks about how he’d rather be hated because it’s brought him infamy while “What Duz That Make U?” angrily calls out an entire crew that’re built like bitches.
“Captain” talks about the rodents always being the first to flee whenever a ship begins sink & going down with it because he feels like there’s doesn’t a whole lot left keeping him alive while “Tick Tock” lets everyone know time’s running out & evil has risen. “Fuck U All” gives middle fingers to everyone who’s constantly dismissing LSP while “Judge Me Not” asks how one understands him when they’ve never walked a mile in their shoes or when he can’t put his trust in anyone.
Meanwhile on “Asylum MMXX”, we have Madopelli helping Scum take it all the way back to the essence of Enter the Asylum assuring he has unified business there 2 decades later while “I Hate Me Too” talks about self-hatred. The title track ends Disc 1 angrily declares his squad’s been fed up of being told to wait their turn while “Tired of Waiting” featuring Death+ & Psychopathic artist Ouija Macc finds the trio kicking off Disc 2 talking about not wanting to suffer the way they have been for some time.
“Cleanup” featuring Damien Quinn & Donnie Menace links up so they can discuss going too far taking the life of someone who should’ve simply gotten beat up for fucking with them while “Unforgiven” featuring Bloodshot decently talks about their purpose of inflicting mutilation & the complications being there since conception. “Chitska” featuring MC Val appropriately spits the wicked shit in Russian together while “Say Your Goodbyes” featuring Rozz Dyliams suggests everyone makes their farewells until crawling 6 feet deep.
Jamie Madrox & Monoxide of Twiztid each spit a verse for the single “Mind of a Killa” taking us through the mindset of serial killers while “It Could Be You” by Devil’s Trident sends a message to the people who think they’re indestructible, cautioning they could disappear at any given moment. “S.I.C.K. (Sadistic Inhumane Compulsive Killings)” featuring Řezník unites to controversially talk about date-rape while “What’s Dead May Never Die” featuring Blaze Ya Dead Homie & Rozz Dyliams makes that very proclamation.
“Soul 2 Keep” featuring Frodo the Ghost talks about maintaining the souls of those who’ll be sleeping eternally without experiencing any sort of afterlife while “Let the Sleeping Dogs Lie 2020” by M.M.M.F.D. featuring Bukshot delivers a sequel to a Deadly Drugz highlight. “Rest When I’m Dead” featuring Boondox & JP tha Hustler talks about all 3 of them doing what they must until it’s their time to go while “Deaths You Die” featuring Bake Lo details the many ways one can meet their death.
Cody Manson appears for “Bad Dayz” in preparation of his debut Psychoactive this Christmas talking about the way this game of life ends depends on ourselves while “Redrum Diary” by M.M.M.F.D. featuring Gravedog, Morbyd & Skitzo explains that there’s not much left on Earth to keep either one of them from leaving at this point. “Drown ‘Em in the Swamp” starts the deluxe run talking about murdering people out in a marsh making them suffocate in the waters while the serious “Love Yourself” confronts themes of self appreciation.
“Wake Up” featuring Leaders of the Lost & Scottfree feels like a bittersweet moment considering the last time Bully Vegas & Stress the Mind were heard rapping jointly was “Quattros Locos Pistoleros” off Death 4 Told’s 3rd album Mean Muggers Handbook with an impeding appearance on their upcoming 4th & final album El Fin later this winter while the final bonus track “Ain’t No Saint” excluding the 2019 version of the title track properly ends Out with the Old admitting that he isn’t perfect when none of us are.
Celebrating 2 whole decades of Lyrikal Snuff Productionz, I thought the idea of Scum putting together a 2-disc full-length where he’s killing it over by himself & with some of the biggest names in the underground wicked shit scene would make for some of the most promising material of his career & I can definitely say it’s some of his best material in my opinion. The production’s consistent & aside from a few features that I could’ve done without, a great deal of them make Disc 2 feel more refreshing if Disc 1 comes off monotonous.
Oh! The Horror is a trio from Sacramento, California consisting of frontman Jonathon Hillhouse, rhythm guitarist Jeremy Terror & lead guitarist/producer Grady Finch. They released an EP just over a year ago called The Devil Made Me Do It & were able to gain even more exposure just a few weeks ago by becoming the very 1st act under Majik Ninja Entertainment’s new sub-label Welcome to the Underground. Of course with this new record deal, the trio had to celebrate by dropping their full-length debut.
The opener “Kill ‘Em All” get murderous over an icy instrumental backed by some heavy guitars whereas the next track “Boom!” tries to incorporate elements of EDM as they talk about how they’re not hard to find. The song “Origins” tells a story about them agreeing to a deal with Satan over a prominently rubbery trap beat while the track “Scream Queen” talks about taking dude’s bitches over a straight up nu metal throwback. The song “Leave Me Alone” talks about wanting to be set free over an beat fusing an amalgamation of different styles of while the track “Pain” with KidCrusher sees the 2 talking about fading in the darkness & the instrumentation on here is some of the best on the entire album.
The song “Idontcare” talks about not giving a fuck over a minimal beat with a dope retro video game sample occasionally popping in & out while the song “Boomstick!” talks about guns over a trap metal fusion. The track “Bodies” talks about having corpses in their basement over some hellish guitars while the track “Scream” starts bragging over a demented instrumental. The penultimate song “Zombie” talks about getting a blowjob over another trap metal beat & then the album finishes with the title track, where the trio talk about how they’re always gonna be freaks over an uncanny beat.
Pretty good album if you ask me. I was expecting a bit more out of the features & even though the whole rap metal shtick might come off as lame to some people, Oh! The Horror is definitely a more unique face in that style & I can definitely see them growing down the line.
This is the 2nd EP from New York trio City Morgue. I became a fan of theirs in 2018 because of how ZillaKami, SosMula & Thraxx uniquely fused trap with metal on their debut Hell or High Water. A sophomore effort As Good as Dead came out just this past winter & even through Thraxx hardly did the production on there, Kami & Sos were able to get the criminally underrated Mike Dean to fill in that gap. But with their tour being one of the many to get cancelled due to the COVID-19 pandemic, they’re making it up to the fans with Toxic Boogaloo.
Things start off with “THE ELECTRIC EXPERIENCE”, where the duo compare themselves to Deadshot over a bombastic beat from Powers Pleasant. The next song “HURTWORLD ‘99” talks about wanting to fuck up anyone who comes at them over a trap metal instrumental while the track “YELLOW PISS” finds ZillaKami going solo to talk about death being longer than life over a chaotic beat from Thraxx. The song “BUAKAW” talks about their haters being pussy over some hi-hats & heavy guitars while the track “YAKUZA” is an unfinished SosMula solo joint backed by a beat that sounds something out of a horror movie.
The song “CRANK” sees the duo getting back together to talk about getting into altercations carrying MACs on them & not the Mac line of Apple Inc. computers over an eerie beat while the track “YOU CAN SUCK MY DICK” is another ZillaKami solo cut about him bringing the smoke to anyone who wants it over bass-heavy instrumental. The song “ALL KILLER NO FILLER” talks about destroying shit over another trap metal beat whereas “SUPER SOAKA” is of course another SosMula solo song that’s even more half-baked than the previous one. The album finishes with “PROSTHETIC LEGS”, where the duo talk about being wardogs over an abrasive beat.
Coming from someone who enjoyed City Morgue’s last 2 albums a lot, this project is a disappointment. I think their whole style is still unique, but it just sounds like ZillaKami & SosMula rushed the shit outta it. Hopefully they take their time on the next album.
Flee Lord is a 36 year old emcee from Queens, New York & one of the hardest working people in hip hop today. Dude dropped a total of 5 projects last year & since this past February, he’s been putting one out every single month with the previous being Alter Ego Fleeigo Delgado. To kick off the 2nd half of this run, Flee is starting to bring the big guns out by enlisting the revered Pete Rock for his 10th EP.
The intro starts out with Lord talking how he’s living in the danger zone over a menacing instrumental & then the song right after “Stuck on a Grip” talks about his plan to become rich over a boom bap beat with a whimsical loop. The track “Surfin’ wit a K” talks about how he never caps over a forlorn instrumental while the song “24 Hollows” proclaims himself as a top dog over a rugged instrumental. The track “Different Options” talks about how he’s gonna always bring it home whether it be going independent or major over a ghostly instrumental while the song “Retired from the Sniffy” is a short yet killer freestyle backed by a boom bap beat with a dope ass piano loop.
The track “Job Done” talks about how he’s still moving in the hood over a slow instrumental while the song “Mini Mac on the Fridge” talks about he be spitting facts over a jazzy beat. The penultimate track “Givin’ Ya my View” is essentially his opinion on the George Floyd protests with a dismal instrumental & then the EP finishes off with the outro, where Flee Lord starts bragging about where he’s at today on top of a Bollywood-influenced beat.
This guy’s been one of my favorite NY spitters for about a year now, but he really outdid himself on this one because this is his best body of work yet in my personal opinion. Lord keeps taking his pen game to a higher level & Pete Rock completely knocks it out of the ballpark on the boards.
Black Soprano Family Records is a Buffalo, New York-based independent record label founded in 2016 by Benny the Butcher of Griselda fame. Their roster has significantly grown throughout the years with the likes of Duffel Bag Hottie, Rick Hyde, Loveboat Luciano, Joneszy & even battle rap icon RJ Payne. The label just inked a distribution deal with E1 Music a couple months back & are releasing a DJ Drama-hosted collective effort to celebrate.
The EP kicks off with “Quarantine”, where Benny the Butcher promises his homies currently locked up that he’ll be rich when they come home over a violin-inflicted boom bap beat from Chup. The next song “Grams in the Water” by Benny, Loveboat Luciano & Rick Hyde of course talks about pushing coke over a dreary instrumental while “Da Mob” finds Benny, Heem & Rick talking about the crew being impeccable over a grimy beat from DJ Shay.
The track “In Love with the Streets” by Heem & Jonesy talks about what makes the hood so special over a boom bap beat with an alluring vocal sample while the song “Rick & Fonz” is a Rick Hyde solo cut about how he can’t go broke again over some synthesizers & some twinkling keyboards. The track “Paulie & Vito” by Heem & Rick goes at those who disrespect their names while the song “Valarie” is a Heem solo joint about what it was like growing up in Buffalo over a dark beat. The closer “It’s Over” by Heem, Rick & Benny then talks about wealth over a soulful Don Cannon instrumental.
Not a bad showcase effort from the Black Soprano Family. I was expecting it to be a little bit longer than just 8 tracks & 27 minutes, but everyone on the label stands out in their own way & does a fine job of giving the listeners what they’re capable of doing.
M.A.V. is an emcee that some may be familiar with as a member of Da Cloth, a group that’s been taking over the New York underground for the past year or 2 now. He just dropped an incredible collab album with Rob Gates & Big Ghost Ltd. in mid-July called The Darkness but not even a couple weeks later, M.A.V. has seen for to team up with Giallo Point for his full-length debut.
After the intro, the first song “Prepaids & Plush Planning” with Mooch sees both of them talking about the dealer life over a dark instrumental with a rapid keyboard sample whereas the next track “Face Value” pays tribute to his significant other over a laidback boom bap beat. The track “Hand in Hand” with Ty Farris & Asun Eastwood finds the 3 painting some dark imagery over a dark yet minimal instrumental while the song “Are You Not Entertained?” with Rigz sees the 2 going at their opposition over a boom bap beat with a grim synth-line.
The track “First 2 a 3rd” with King Bub Rock goes on about cooking up coke in their auntie’s houses over an airy instrumental while the song “Protocol” gets back with Rigz to speak on betrayal & death over a bloodcurdling beat. “The Lion” calls out those who’ve never been on his level over a cinematic instrumental & before a 1-minute outdo, the final song “Remember” with Rigz & Tekk9 speaks on how the work they all put in will be worth it at the end of day on top of a solemn boom bap beat.
Wasn’t expecting another album to come so quickly after The Dark Side of Nature, but I’m glad it did because this is another yet crown jewel in M.A.V.’s ever-growing discography. Giallo Point continues to be one of the best underground producers in the game today, as he provides a fantastic musical backdrop for M.A.V.’s gritty lyrics.
