Post Malone – “Hollywood’s Bleeding” review

This is the 3rd full-length album from New York born & Texas raised rapper, singer/songwriter & producer Post Malone. Who rose to stardom in 2015 with the single “White Iverson”, which landed on his subpar debut album stoney at the tail-end of 2016. He took the following year off, but his sophomore album beerbongs & bentleys last spring showed a little bit of improvement as the songs were a lot catchier than last time around. And a little over a year later, here we are.

The title track essentially finds Post going on about some woman over a dull instrumental while the next song “Saint-Tropez” is a by the numbers club banger. The track “Enemies” with DaBaby sees the 2 talking about people who’ve turned against them over a moody instrumental while the song “Allergic” is a trite & obnoxious ballad.

The track “1,000 Bad Times” talking about how crazy this chick is over an airy instrumental while the song “Circles” is a whiny attempt at going indie pop. The track “Die for Me” with Future talks about scandalous women with Halsey providing a terrible verse from the ladies’ perspectives at the end over a drab beat while the song “On the Road” with Meek Mill & Lil Baby finds the 3 bragging over a generically atmospheric beat wanting to be richer than Amazon founder Jeff Bezos.

The track “Take What You Want” with Travis Scott sees the 2 diving into more romantic melodrama & not only is the instrumental equally uneventful, but the hook from Black Sabbath frontman Ozzy Osbourne on here has to be one of the worst features I’ve heard all year. The song “I’m Gonna Be” is essentially the trap equivalent to Logic’s “Don’t Be Afraid to Be Different” minus the awful Will Smith verse while the track “Staring at the Sun” with SZA is an awkward duet about their past romances over an instrumental that’s blatantly similar to the playful “Sunflower” joint that he did with Swae Lee for Spider-Man: Into the Spider-Verse. And funny enough too, that’s the VERY next song on the album.

The track “Internet” is basically him moaning about the things people say about him online & the song “Goodbyes” talks about leaving a girl whereas Young Thug is talking about working it out with her over a bleak instrumental. The track “Myself” sounds like a total Tame Impala ripoff while the song “I Know” talks about how his love with this woman will never be duplicated over a skeletal instrumental. The torture finally ends with “Wow.”, which is a boring sequel to “Congratulations”.

I didn’t like this. Not even a little bit. With the last album I felt like Post actually came through with writing & delivering some catchy radio hits, but this feels WAY more cumbersome. Maybe even more so than stoney was almost 3 years ago. Another thing is too that it seems like him hopping on the emo rap bandwagon & failing miserably. By far the worst thing he’s done to date.

Score: 1.5/5

Ca$his – “The County Hound 4” review

Ca$his is a Chicago, Illinois born & Irvine, California raised rapper that came up as a member of The Renegadez. However, he‘d eventually sign to Shady Records as a solo act in 2006 & drop his debut EP The County Hound the following year. But after having them shelve his album for 5 years, he left & made his official debut with The Art of Dying. This was followed up with The County Hound 2 in 2013 & pretty much a new release or releases every year. He just dropped his last album The Art of Living a few months ago & if that isn’t enough, he’s already delivering his 9th full-length album & the 3rd sequel to the project that got him where he is today.

The album kicks off with “Fly High”, which is a killer rap rock anthem about weed. The next song “In Real Life” gets reflective over a smooth instrumental from longtime collaborator Rikinatti while the track “Bring It In” charismatically flexes over some knocking drums. The song “Don’t Like Me” gets rowdy over a hard hitting beat with some keyboards while the track “Whoomp” talks about how fresh he is over a Neptunes inspired instrumental.

The song “Live It Up” sees Capo bragging over a haunting piano lead while the track “Orange County” pays tribute to his California stomping grounds over a laidback beat. The song “I Got” is an awkward auto-tune ballad with a luxurious trap beat while the penultimate track “Don’t Care” gets reckless over a demented beat. The album then ends with “Whut’s Really Happnen’?”, where Capo gets bloodthirsty over a nightly instrumental.

A lot of Ca$his’ greatest bodies of work come from The County Hound series & this is no exception. Couple tracks I could’ve done without but for the most part, it’s a great representation of who he is & where he is now. Dude’s been in the game for a little over a decade now but to this very day, he & Rikinatti continue to the bring out the best in each other.

Score: 4/5

Meyhem Lauren – “Members Only” review

Meyhem Lauren is a 36 year old MC from Queens, New York that came up as the leader of the Smart Crew graffiti team. He eventually started rapping in the mid-2000s, but it wouldn’t be until this decade that he saw success. Most notably with Mandatory Brunch Meetings, the Buckwild produced Silk Pyramids, Piatto D’oro & most notably the DJ Muggs produced Gems from the Equinox. The latter was followed up with Frozen Angels last year, but it seems like now that the 2 are getting back together for Meyhem’s 9th EP.

The EP kicks off with “Aztec Snowflakes”, where Meyhem gets at his competition’s throats over an old school instrumental. The next song “GT3” gets lavish over a grimy boom bap beat while the penultimate track “Wavy” brags & the drums on here are thunderous. The EP then finishes off with “Blue Chinese”, where Meyhem gets mafioso over a morbid instrumental.

This is a dope continuation of Meyhem & Muggs’ partership. They continue to compliment each other’s own raw styles very well. Definitely looking forward to their next full-length album together whenever it comes out.

Score: 3.5/5

EARTHGANG – “Mirrorland” review

The EARTHGANG is a duo from Atlanta, Georgia consisting of Olu & WowGr8 that’s been at it since the very beginning of the decade. They dropped 3 mixtapes, an EP & 2 studio albums independently until J. Cole signed them to Dreamville Records in 2017. They promoted this new association with a decent trilogy of EPs & not even 2 months after appearing on Revenge of the Dreamers III, the time has come for their highly-anticipated major label debut.

The opener “LaLa Challenge” finds the duo flexing over an instrumental that starts off slow, but then breaks into a faster pace by the end. The next song “UP” brush off their doubters over an oracular instrumental while the track “Top Down” challenges their opponents over a bassy trap beat. The song “Bank” of course talks about the paper over an immense instrumental while the track “Proud of Up” with Young Thug sees the 3 paying tribute to women all across the world over a gleaming beat.

The song “This Side” talks about paranoia over a settle yet dark instrumental while the track “Swivel” that originally appeared on Revenge of the Dreamers III a couple months ago talks about overcoming their insecurities over a funky beat. The song “Avenue” gets confessional over a groovy instrumental while the track “Tequila” with T-Pain of all people is a dedication to the titular alcoholic beverage over a Latin instrumental.

The song “Blue Moon” gets sensual over an instrumental with an amazingly charming vibe to it while the track “Trippin’” with Kehlani is of course a lust anthem with a playful instrumental. The song “Stuck” finds the duo simping over a boom bap beat with a down-tuned guitar lead while the penultimate track “Fields” talks about never changing over a MOSTLY skeletal beat. The album then finishes with “Wings”, where the EARTHGANG talk about their hustle over a psychedelic beat.

Personally, this is the duo’s best work yet. The instrumentals are decent, but the hooks & the verses are mostly pretty great. If you wanna hear Johnny & Dot continue to hone their unique style, then give this a listen.

Score: 3.5/5

Joell Ortiz – “Monday” review

img_9980-1

Joell Ortiz is a 39 year old rapper who first gained recognition after being included in the Unsigned Hype column of The Source in 2004. He then signed to Aftermath Entertainment in 2006, who allowed him to release his debut album The Brick: Bodega Chronicles with E1 Music in the next year. Yaowa would eventually leave Aftermath in 2008 & form Slaughterhouse with Royce da 5’9”, KXNG CROOKED & Joe Budden shortly after. The supergroup rose to prominence with their self-titled debut that just celebrated it’s 10 year anniversary this year & would go on to sign with Eminem’s Interscope Records imprint Shady Records in 2011. But sadly, their major label debut welcome to: OUR HOUSE in the summer of 2012 would unfortunately end up being their last. Joell has been focusing on his solo career ever since then & not even a year after his Apollo Brown produced Mona Lisa, he’s hitting fans with his 7th full-length album.

After the titular intro, we go into the first song “Captain”. Where Joell talks about his place in hip hop over a stylistic Heatmakerz beat. The track “Sip Slow” is filled with clever battle bars over a joyous boom bap beat from Apollo Brown while the song “Champion” declares himself as just that over a tribal instrumental from Nottz. The track “Anxiety” vents about his insecurities over a soulful acoustic instrumental while the song “Same Time” talks about hearing a lot all at once over a boom bap beat with some strings.

The song “Learn You” talks about the sacrifices he made to chase his dreams over a grand Big K.R.I.T. instrumental then the track “Screens” talks about his kids & reflecting on his own childhood over a colorful J.U.S.T.I.C.E. League instrumental including a WWE reference. The song “Jamaican Food” is a lust anthem with a sweet minimalist beat while the track “Before Hip Hop” talks about his life before making music over some bongos & soulful background vocals. The penultimate track “Momma” of course pays tribute to Yaowa’s mother over an piano that suits the vibe & then the album ends with “Grammy”, where Joell talks about doing him over a boom bap beat with some more beautiful keyboard passages.

This is easily one of Yaowa’s best releases to date. The production is sweet to the ear & the lyrics are some of his most personal yet.

Score: 4/5

DJ Clay – “Over the Fear Of…” review

DJ Clay is a 35 year old producer, DJ & rapper from Detroit, Michigan whom the Insane Clown Posse signed to Psychopathic Records back in 2007. The man has released a handful of mixtapes since the mid-2000s but since recently starting up his very own label Armed Robbery Entertainment, he’s finally stepping out with his full-length debut album.

The album kicks off with “Over Fear”, where Clay talks about rising above his frights over a nocturnal trap beat. The next song “Fax” gets into battle mode over a boom bap beat with some plinky keyboards while the track “Don’t Quote Me” finds Clay totally snapping over a grimy trap beat. The song “Everybody” talks about his haters over a trap beat with a Godly atmosphere while the track “Apologies” finds Clay saying sorry for a number of things over a somber trap beat.

The song “Eyes Clozd” finds Clay talking to a therapist over a trap beat some alluring keyboards while the track “Just Like You” talks about being him over a very dynamic instrumental that switches up countless times. The song “Tear Up” is an aggressive club banger with a haunting synth-like & some skittering snares while the track “Running” tells the vivid story of a criminal over a horror-esque trap beat.

The song “Yeah Bro” is talks about wildin out over a grimy trap beat & a Three 6 Mafia inspired hook for a minute & a half while the track “Got It Wrong” talks about those who thought he was quiet over an atmospheric beat with some rubbery bass. The song “Fade Away” is an interesting trap rock ballad & then the album ends with “Numb”, where Clay talks about his success over a trap beat with some luscious piano chords.

If anyone wants to hear a talented DJ showing off his rapping abilities, then PLEASE give this a listen. Could’ve used a couple features to breakup the monotony, but his pen game is solid & the production goes absolutely HARD!

Score: 3.5/5

Common – “Let Love” review

Common is a revered Chicago, Illinois emcee who came up with the No I.D. produced albums Can I Borrow a Dollar?, Resurrection & 1 Day It’ll All Make Sense throughout the 90s. He then made his major label debut in 2000 with Like Water for Chocolate, which was followed up with the experimental Electric Circus in 2002. During the mid 2000s, he released a trilogy of albums with Kanye West’s GOOD Music beginning with Be, bridged by Finding Forever & then ending with Universal Mind Control. As for this decade, we saw Com reuniting with No I.D. on The Dreamer/The Believer & Nobody’s Smiling. Then came his last album Black America Again, which was released during the 2016 presidential elections. But with a new memoir out now, the man has seen fit to deliver his 12th album.

The album kicks off with “Good Morning Love”, where Common gets motivational over a smooth beat from Karriem Riggins (who produced almost every track on the album much like Black America Again). The next song “HER Love” pays tribute to hip hop over J Dilla’s “Dillatronic 41” & then after the Dwele interlude, the track “Hercules” talks to the haters over a funky beat. The song “5th Story” with Leikeli47 sees the 2 telling the tragic story of a married couple over an austere instrumental while the track “Forever Your Love” pays tribute to his parents over a meditative boom bap beat.

The song “Leaders (Crib Love)” talks about prevailing over some prominent live drumming while the track “Memories of Home” speaks for itself over a settle instrumental. The song “Show Me That You Love Me” with Jill Scott pays tribute to his daughter over a soothing instrumental while the penultimate track “My Fancy Free Future Love” pays tribute to his soulmate over a jazzy instrumental. The album then ends with “God is Love”, where Common gets spiritual over a piano-inflicted boom bap beat.

While it’s not perfect, it’s still an admirable effort from the man. The production is mostly gorgeous & it suits Common’s heartfelt lyrics pretty well.

Score: 3.5/5

Gawd Status – “Firmamentum” review

Gawd Status is a duo from London, England, United Kingdom consisting of emcee Joker Starr alongside producer King Kashmere. Both of whom have musically been around since with mid-2000s, with Kashmere making his debut in late 2006 by dropping In the Hour of Chaos & Joker Starr putting out Blood-Ren roughly 5 & a half years later. Nonetheless, I was still intrigued to hear they’ve teamed up for a full-length debut together.

“Heavy Metal” opens up with a boom bap intro talking about lighting muhfuckas up with a firing squad & times being difficult whereas “Messiah Hybrid” goes for a jazzier vibe instrumentally talking about their bloodline not being up for questioning. “I’m an African” featuring Big Cakes & Micall Parknsun comes through speaking like kings & walking like lions leading into “Amplified Science” featuring Anyway tha God takes a more conscious approach lyrically.

Fae Simon predominantly appears on “The Alchemist” soulfully singing about wanting to show her partner how she purifies elements of nature while “Admiral Byrd” talks about people hiding behind science to fight God. The penultimate track “Uranium” hops over a beat with increasing intensity to discuss conspiracy theories & the closer “From Nibru with Love” finishes up with a compositional outro blending elements of boom bap & cloud rap.

I might have Strange U’s debut LP4080 above Firmamentum, but it’s still the most entertaining introduction Gawd Status could’ve possibly made. King Kashmere’s production is primarily hip hop-oriented with secondary influences of psychedelia & soul backing Joker Starr’s lyrics covering topics like madness, slavery, the rise of A.I., false Gods, the transmutation of matter & conspiracy theories ranging from flat Earth to aliens.

Score: 4/5

Salami Rose Joe Louis – “Zdenka 2080” review

San Diego, California singer/songwriter & producer Salami Rose Joe Louis making her Brainfeeder Records debut with her 3rd studio LP. Introducing herself in 2016 off her full-length debut Son of a Sauce!, the subsequent sophomore effort Zlaty Sauce Nephew a year later was more positively received & interested Flying Lotus enough to the point where he signed her to Brainfeeder distributed by Ninja Tune. And being a FlyLo fan since my teens, I wanted to give Zdenka 2080 a fair chance.

“Suddenly” opens up with this futuristically hypnotic 105 second intro singing about finding life challenging out of nowhere leading into “Octagonal Room” kicking off with a spoken word piece until hitting us with a chorus & post-chorus entering a new dimension. After the “She Wakes Up (1st Dimension)” composition, “Love the Sun” goes for a heavy Stereolab vibe for 2 & a half minutes while the ethereal “Cumulous Potion (For the Clouds to Sing)” after the “Cirrus Floccus (2nd Dimension)” intermission describes a kind of concoction created by a starship from another galaxy.

Dream pop, singer/songwriter & hypnagogic pop all collide on the single “Nostalgic Montage” singing about traveling to see her friends if she were a bird just before “Meet Z in 3D (3rd Dimension)” atmospherically confesses that she doesn’t like sing much these days & making life busy so he can’t face her soul. “Confessions of a Metropolis Spaceship” moves on from there asking where he breath went & after “A Brief Intermission”, she spends a couple minutes during “Sitting with Thoughts” singing about someone who makes her feel alone.

“Earth Creature” gets the 2nd half going with Lindsay pleading for those listening to not lose hope over a Herbie Hancock-influenced beat while “Peculiar Machine (4th Dimension)” sings about discovering something mysteriously radiant. After the “Drifting” instrumental piece, “You Get Blue” has to be one of the weaker moments on the album considering it’s so short that there’s literally no point of it being on here while “Diatoms & Dinoflagellates (5th Dimension)” has a cavernous spoken word flare to it.

After the ambient “Transformation of a Molecule (6th Dimension)” beat, “The Artist (7th Dimension)” rounds out 3rd taking a more rustic approach while “Collision, Gravity, Time” sings about something else in the sky coming closer. “Heads Turn to Paintings” neo-psychedelically realizes the time has come while the final song “Cosmic Dawn (8th Dimension)” preceding the “To Be Continued…” outro majestically finishes singing about knowing your fear how she wants one to do so.

Most people would have Zlaty Sauce Nephew above Zdenka 2080 & understandably so, but I’d make the argument that Salami Rose Joe Louis’ debut for Brainfeeder begins this next phase of her career with the strongest collection of music she’s conceived. Her production’s more neo-psychedelic than earlier output additionally pulling from dream pop, ambient pop, nu jazz, wonky, hypnagogic pop & indietronica to cohesively describe a future dystopian Earth in the year 2080 that’s been mismanaged by unethical governments & corporations.

Score: 4/5

Kuniva – “The Bando Theory” review

1280x1280

Kuniva is a 42 year old MC from Detroit, Michigan who started as 1/2 of Da Brigade with dEnAuN. Both of whom would go on to join D12 with Proof, Bizarre, Swifty McVay & of course Eminem. They released 2 platinum studio albums together in the early 2000s but when the group’s leader Proof was murdered in 2006, everyone began focusing on their solo careers. Kuniva released a slew of mixtapes throughout this decade, but made his full-length debut in 2014 with A History of Violence. This was followed up with a sequel tape in 2016 & 3 years later, he’s back on the scene with his sophomore album.

After the intro, we go into the title track. Where Kuniva talks about how real he is over a vicious instrumental. The next song “The Real” pays tribute to those who’ve remained in his circle over a mellow instrumental while the track “Boss Down” is filled with angry battle bars over a nocturnal trap beat from Nick Speed. The song “Shine” talks about maintaining successful over an instrumental with some subdued background vocals & a guitar popping in occasionally while the track “G.T.F.B. (Get The Fuck Back)” with 7 the General sees the 2 vividly describe someone trying to carjack them over an ominous beat.

The song “Weaponized” of course is laced with that gun talk over a killer rock sample while the track “Blue Note Lounge” with Fatt Father sees the 2 reclaiming their prowesses over a luscious instrumental. The song “Waldorf” talks about how fly he is & his competition being talentless over an eerie boom bap beat while the track “Victim” is an awkward auto-tune ballad with a buttery instrumental.

The song “Livin’ My Life” with Rod Dae needs no further explanation over a slick instrumental while the track “I Love Ya” pays tribute to hip hop over a punchy instrumental with some beautiful keys. The penultimate track “Red Hots & Faygo” talks about people who always have a problem with him over the same sample that RZA used for “Let My N****s Live” off of the Wu-Tang Clan’s 3rd album The W back in 2000 & then the album ends with “D.O.N.S. (Day One N****S)”, which of course pays tribute to his close homies over an atmospheric beat.

If y’all are looking for an O.G. in the Detroit hip hop scene getting back on his grind, then please give this a listen because I’ve always looked at Kuniva as an underrated link of the D12 crew. Some of the hooks could’ve been better to me but for the most part: this thing has well incorporated features, great production & Kuniva’s pen game remains deadly.

Score: 3.5/5