The Underground Avengers – “Dark Matter” review

The Underground Avengers are a southern hip hop supergroup consisting of Arlington, Texas emcee Claas as well as Covington, Georgia & Louisville, Kentucky duo The Horde a.k.a. Boondox & Bukshot. They first assembled in 2012 with their self-titled EP, but then disappeared shortly after. Then with the help of Majik Ninja Entertainment late last August, they reformed to drop their debut album Anomaly 88. Now 11 months later, they’re back with their sophomore album & have enlisted Strange Music in-house producer MIKE SUMMERS a.k.a. 7 to produce it from front to back.

After the “Dragonfly 44” intro, we go into the first song “Black Summer”. Where the trio get vicious over a haunting trap beat. The track “Tribulation” attacks fake people over a symphonic trap beat while the song “1 More Night” of course talks about partying over a rap rock beat. The title track is pretty much a decent spoken word interlude & then the next song “Chimera” talks about internal conflict over a nocturnal beat.

After the “Hecatomb” interlude, we go another interlude with with “Protocol”. We finally get back into the music with “Invasion”, where the Avengers get with Young Wicked & The Jokerr to compare themselves to aliens over a sinister trap beat. The penultimate track “God Particle” is a fantastically gritty sequel to the equally star-studded “Thanos” off of the Avengers’ previous effort & then album ends with the “Coda” spoken word piece.

This is yet another solid effort from the Avengers. There are a little too many interludes/skits for me, but the chemistry between the trio is still strong & 7’s production suits them fantastically.

Score: 3.5/5

Crimeapple – “Medallo” review

Crimeapple is an MC from New Jersey who first garnered my attention in 2017 with his 4th EP Sweet Dreams that dropped on a couple years ago on Halloween along with his Big Ghost Ltd. produced debut album Aguardiente last March. He released a fantastic sophomore album Wet Dirt with DJ Skizz earlier this year & if that’s not enough, he’s coming back with the help of DJ Muggs to deliver his 3rd full-length album.

After the titular intro, we go into the first song “En Vivo Desde Manrique”. Where Crimeapple delivers some gritty battle bars over a haunting beat. The track “Tiburones” then flaunts over a grimy boom bap beat while the song “Camisas” continues to brag over a piano-inflicted boom bap beat. The track “Prescription” reflects on his drug dealing days over a alluring sample while the song “Villa Hermosa” gets reflective over a classy sample.

The track “Crazy Eddie’s” talks about how sharp he is over a boom beat with an ominous bass-line while the song “Just Because” compares his music to drugs over some strings. The track “Acetone Wash” with Conway the Machine sees the 2 gets bloodthirsty over an eerie sample & while the song “22 Blue 2s” has a nice boom bap/rock fusion in the instrumental, the Primo Profit verse at the start does nothing for me.

The track “No More 2 for 5” has a beautifully horror-esque vibe to it as Crimeapple’s voice sounding like it’s coming from a walkie talkie while the song “Aguas Profundas” gets mafioso over a minimalist instrumental. The penultimate track “Bloodtype” gets back on the battle tip over a nightmarish instrumental & then the album ends with “Tellin’ Me Lies”, where Crimeapple gets sensual over a soulful beat.

Yet again, Crimeapple outdoes himself & reveals himself as one of the best in the underground right now. His lyricism keeps getting sharper & DJ Muggs’ signature sound suits him near perfectly.

Score: 4.5/5

Cordae – “The Lost Boy” review

Cordae is 21 year old MC from Suitland, Maryland that came up as a member of the YBN collective just a few years ago. He first came on my radar last year with “Old N****s”, an immensely well written response to “1985” off of J. Cole’s last album KOD. That single alone earned Cordae a HUGE co-sign from none other than Dr. Dre as well as a deal with Atlantic Records. The kid even made it on this year’s XXL Freshman Class last month, so it’s only right for him to keep the hype for him going with his full-length debut over here.

The album starts off with “Wintertime”, where Cordae gives the listener a proper introduction to himself over a funky Cardiak & Terrace Martin beat. The next song “Have Mercy” talks about the struggles of life referencing WWE Hall of Famer Mike Tyson over a flute-inflicted trap beat & after the “Sweet Lawd” skit, the next track “Bad Idea” with Chance the Rapper sees the 2 making a modern version of the iconic Scarface cut “My Block”.

The song “Thanksgiving” talks about bringing a girl home for the titular holiday over a mellow trap beat while the track “R.N.P. (Rich N***a Problems)” with Anderson .Paak sees the 2 over a bouncy J. Cole instrumental. The song “Broke as Fuck” angrily recalls his rough past over a piano-inflicted trap beat while the track “1,000 Words” talks about people who cap over a smooth beat. The song “Way Back Home” talks about being yourself over an intoxicating trap beat & after the “Grandma’s House” skit, the song “Been Around” is a tribute to those who’ve stuck by Cordae’s side since Day 1 over a summery instrumental.

The track “Nightmares are Real” with Pusha T sees the 2 talking about how the good guy always wins over a haunting instrumental while the song “Family Matters” is an heartwarming tribute to his loved ones with a relaxing beat. The penultimate track “We Gon’ Make It” with Meek Mill sees the 2 getting motivational over a chilled out instrumental & then the album ends with “Lost & Found”, where Cordae tells his rags to riches story over a blissful trap beat.

I’ve been waiting a minute for this & at the end, the kid really delivered. It’s focused, it’s well produced & I really feel like the listener really gets to know Cordae as a person.

Score: 3.5/5

Joker Starr – “Man’s So Shabba” review

Here we have the 4th extended play from Slough, Berkshire, England, United Kingdom emcee/producer Joker Starr. Dropping his debut mixtape Raw Spittage in 2011, he would go on to follow it up with 4 full-lengths as well as all 3 of his previous EPs & a beat tape. London veteran Micall Parknsun being brought in to produce a vast majority of G.A.W.D. (God And Wisdom Driven) resulted in his finest album yet & seeing him coming back for 60% of Man’s So Shabba had me further intrigued.

The title track begins with a mediocre trap intro flexing like Shabba Ranks whereas “Bussa Buss Down” produced by Micall Parknsun to me is where the EP begins to pick up rocking it over a smoky instrumental. “Cooker” was another moment I enjoyed talking about getting it & after “Jones Brothers Get Low” gets awkwardly chaotic, the outro “Things That I Know” concludes the EP talking about the man wanting to see everyone be great when it’s all said & done.

Only a month away from Gawd Status making their full-length studio debut Firmamentum having Joker Starr rocking it over a collection of King Kashmere beats, he comes off G.A.W.D. (God And Wisdom Driven) by dropping off a collection of tracks that I found myself on the fence with compared to that LP. All 3 tracks Micall Parknsun produced make for the most gratifying moments Man’s So Shabba has to offer, the other 2 feel disappointingly flat.

Score: 3/5

Chester P – “The Nameless Project” review

This is the 4th studio LP from Canonbury, London, England, United Kingdom emcee/producer Chester P. A member of the Mud Family collective as well as 1/2 of the Task Force alongside his older brother Farma G, he would later go on to release the full-length solo debut From the Ashes in 2009 followed by the sophomore effort New Mic Order: Survive or Die Trying & the sequel. 8 months however have gone by since The Post Apocalyptic Storyteller extended play & now The Nameless Project has emerged.

“Fuck Your Future” has a quirky industrial hip hop vibe to it instrumentally talking about his home being a place where the eyes of the soldier are empty & soulless whereas “The Backdraft” uncannily discusses the harsh realities of society working until they grow old. “It’s a Lot” kicks it off the top for 72 seconds talking about having to step up his lyricism & after a skit, “Criminal Peeps” dedicates itself to all the hoodlums who like to cause mayhem in the streets.

As for “Charlie Sheen”, we have Chester over a sinister boom bap beat likening the cocaine to the infamous actor of the same name while “Tycho Brahe (The Man With the Golden Nose)” once again talks about crack retaining an industrial flare to the instrumental. “The Ballad of a Drunken Spaceman” packs a punch despite its brevity detailing our main character getting thrown in a basement for a minute & after the “LSD” skit, I’d consider “Dead Watch” to be a lot more of an interlude than an “intro”.

“The 5 Fingers” slows down his vocals talking about either dying or surviving as far as he’s concerned while “Warning Shot” gets anarchic over a futuristic boom bap beat. “Dead Canaries” comes through for a minute & a half cautioning spitfire towards anyone who gets caught in his way but once “Gas Mask Squad” treads the industrial hip hop/boom bap waters 1 last time advising to be weary coming to the dead watch, “1 Love from Camelot” sends off The Nameless Project penning an open letter to someone he knows behind bars.

One of the most prolific artists in the entire UK hip hop scene returning after 7 years with EP containing no samples tackling mature topics was a refreshing comeback for Chester P & he switches it up again with The Nameless Project in some capacities. I find the post-apocalyptic themes to be cohesively told regardless if some might’ve hoped for a feature or 2 & the secondary influences of industrial hip hop heard within the production certainly suit the concept when it’s needed.

Score: 3.5/5

Nas – “The Lost Tapes II” review

Nas. What can be said now about the renown Queensbridge, New York MC that hasn’t been said already? From his first 2 studio albums illmatic & It Was Written to The Lost Tapes & Life is Good, the man has really cemented himself as one of the greatest spitters in all of hip hop. He is fresh off his overhated Kanye West produced comeback NASIR last summer & now, he’s back with the sequel to his iconic rarities compilation.

The comp starts off with “No Bad Energy”, which is of course a positivity anthem with a Swizz Beatz instrumental with some beautiful background vocals. The next track “Vernon Family” talks about being rich over a funky instrumental from Pharrell & despite the decent braggadocio on “Jarreau of Rap”, the jazzy instrumental is absolutely HIDEOUS! The track “Lost” proclaims himself as a prophet over a lavish boom bap beat from Statik Selektah while the song “Tanasia” talks about a woman over this orchestral RZA beat.

The track “Royalty” is a mediocre dedication to this young queen over a decent Hit-Boy beat while the song “Who Are You?” brags over some keyboards. The track “Adult Film” needs no further explanation & the piano instrumental from Swizz Beatz is pretty while the song “War Against Love” is an ode to Africa with a relaxing instrumental.

The track “The Art of It” talks about smoking weed over a funky boom bap beat from Pete Rock while the song “Highly Flavored” talks about his fate & the sample that RZA uses is very creative. The track “Queens Wolf” talks about his evolution over a DJ Toomp instrumental with some prominent keyboards & strings while the song “It Never Ends” talks about ongoing violence in the hood over an ominous piano instrumental from The Alchemist.

The track “You Mean the World to Me” is a corny story about a woman that leaves her partner just to be with Nasir over a Kanye instrumental that samples “Don’t It Make You Feel Good?” by Leroy Hudson while the penultimate song “Queensbridge Politics” pays tribute to Prodigy over a boom bap beat from Pete Rock with some dark piano keys. The album then finishes with Beautiful Life”, where Nas addresses Kelis’ slander towards him over a luxurious No I.D. instrumental.

Been a long time waiting on this album & at the end, I think it’s pretty dope. The production is better than half of the albums that they were originally made for & Nas’ pen game overall is a step up from NASIR.

Score: 4/5

Nah Eeto – “53” review

Nairobi, Kenya, Africa recording artist Nah Eeto dropping her debut extended play under one of London, England, United Kingdom’s biggest independent hip hop labels: Blah Records. Her debut single “Auntie, What Happened To Me?”would come out on my 22nd birthday & that quickly sparked interest in what the rest of 53 was gonna sound like. Especially since I’ve already familiarized myself with her through the guest appearances she’s done for the likes of Cult Mountain as well as Bisk & Black Josh to only name a few.

“Kichaa II” featuring Dope-I-Mean & Stinkin’ Slumrok begins with an English/Swahili intro produced by Lee Scott talking about the trio’s inability to turn down money but once “E Eye O” featuring Boutross & the Mcabre Brothers joins forces over a trap beat from Jack Danz to see who can have the most charming verses when I’d say the latter & Nah are tied, “Mafu” wraps up the 1st half of 53boasting that the devil wonders how she hasn’t fallen from grade yet.

Milkavelli appears for “Mbali No Machina” getting bilingual once more spitting fierce English & Swahilian verses over this experimentally atmospheric instrumental preceding Nah Eeto singlehandedly flowing on top of these ominous synthesizers from Sumgii during “Bila You”, discussing her capability of baggin’ drugs & simultaneously robbin’ a dealer along with a client of theirs. The closing track “Tick Tock” spends the remaining 3 & half minutes of the EP hitting us with a Swahilian drill outro.

Yearning to put the Swahilian hip hop scene on the map, Nah Eeto has come a long way from being a Blah Records videographer to her recent features across several projects & now releasing music under the imprint giving us a better understanding of her artistic & personal identity. 53’s guest list is a mix of Blah Records alumni & fellow Kenyan rappers, the production’s consistent & I feel like anyone looking to get into shrap will have a better understand of that style.

Score: 3.5/5

Ronnie Bosh – “All People Expect” review

London, England, United Kingdom emcee Ronnie Bosh ready to embark on a new chapter of his career with a solo debut. An original member of the quintet Contact Play, he would go on to make multiple guest appearances for a multitude of projects over the course of the 2010s from Rag’n’Bone Man’s 3rd EP Put That Soul on Me to Dirty Dike’s 5th album Acrylic Snail as a more recent example. The latter of whom was announced to be fully producing All People Expect, which is welcoming considering the history they’ve had with one another for a decade.

“100%” opens up shop with this boom bap intro talking about him having no reasons to pretend when he’s got his swagger fully loaded whereas “Nothing” ruggedly speaks of dunces bluffing like it ain’t shit & the pigs using high breams to see more clearly. “Explain” featuring Jam Baxter takes a more soulful approach to the beat talking about monstrous flesh covered in rat’s skin just before the title track thematically shifts towards some conscious subject matter.

The 2nd & final single “You Know” goes for an old school vibe instrumentally talking about doing this shit so he can make jaws click instead of seeking praise from others while “Funghi” featuring Jam Baxter & Lee Scott sees the trio finding humor in the future, hence why they’ve been on this wave of spending a bunch of cash. “Get Out” combines elements of jazz rap & boom bap sending a message to the people who ain’t fucking with him prior to “1” showing a soulfully sensual side of himself.

“Do You Ever Think?” begins the album’s final act hooking up an organ flip asking this person with a shitty attitude if they’ve ever thought of the way they conduct themselves being the very reason Ronnie’s respect for them has slowly begun to deteriorate while the bluesy “Honorable Death” vividly tells the story of a man getting shot 21 times succumbing to his injuries. Contact Play reforms during the outro “Pulp”, hopefully planting the seeds for a reunion under High Focus Records when the time’s right.

Becoming a permanent behind the scenes fixture of the UK hip hop movement, fans have waited a long time for Ronnie Bosh to begin carving his own individual path artistically & High Focus ends that wait by letting his larger than life personality shine brighter than it has in the past. Dirty Dike offers amongst the greatest boom bap/jazz rap production he’s ever cooked up & one can certainly respect Ronnie’s attempts at testing out new things like singing or switching up his flows for 47 minutes instead of sticking to his bread & butter.

Score: 4/5

Dorian Electra – “Flamboyant” review

Dorian Electra is a 27 year old singer/songwriter from Houston, Texas who began making music in the late 2000s/early 2010s after putting out a music video showing admiration for both Friedrich Hayek & Steven Horwitz. However, their biggest breakthrough came in 2017 when Dorian appeared alongside Mykki Blanco for “Femmebot” off Charli XCX’s 4th mixtape Pop 2 succeeding the Don Bogman’s Family Christmas & Magical Consciousness Conference EPs. Looking to make bigger waves, they’ve decided against signing to a label for their full-length studio debut.

“Mr. to You” properly introduces themself to the world with this fun, poppy intro singing about a person who wants to be referred to as “Mister” whereas “Career Boy” fuses hyperpop, bubblegum bass, future bass, synthpop & electropop poking fun at this masculine ideal of the manly-businessman-hero & tearing him apart. The 4th & final single “Daddy Like” combines electropop, dance-pop, hyperpop, contemporary R&B, synthpop, trap, bubblegum bass & pop rap giving the phrase “daddy” a new meaning while “Emasculate” produced by Dylan Brady describes their masculinity in a negative manner.

Synthpop, dance-pop, electropop, contemporary R&B, synth funk & alternative R&B all collide on the single “Man to Man” redefining the values that masculinity traditionally holds into a new & healthier context while “Musical Genius” tackles the myth of a so-called “genius” predominantly being a male working in isolation. The title track explores electropop, hyperpop, dance-pop, bubblegum bass, future bass, synthpop, ratchet, hyphy & contemporary R&B singing about their ostentatious personality while “Guyliner” shouts out all the men who’re passionate for makeup.

“Live by the Sword” gets the 2nd half going fusing hyperpop, industrial & rock singing about getting what’s yours if one uses the proverb derived from the Gospel of Matthew & applies it to their daily lives while “Adam & Steve” swaps out both of the previously mentioned genres of favor of electropop, bubblegum bass, EDM trap & deconstructed club criticizing homophobia. “fReAkY 4 Life” officially ends Flamboyant singing about being kinky for life while “Tool for You” starts the deluxe run by admitting they’ve become a fool for the person they’re romantically involved with.

The song “Under the Armor” exposes someone who’s trying to hide their true feelings for Dorian only for them to see through all the bullshit while “Guyliner 2” continues to express the love they have for men who like to wear a little eyeliner for themselves embracing elements of EDM trap. The final bonus track “Your Kinda Guy” sends it all off blending glitch & house music assuring tonight’s the night everything will turn out fine for them, getting away from the city lights & yearning to be romantically involved with this person.

Flamboyant isn’t too far behind 1,000 gecs in terms of being some of the greatest hyperpop I’ve ever heard & further proves the stranglehold it’s had on the 2019 musical landscape. The production advances the style of electropop 100 gecs popularized sprinkling hints of dance-pop, synthpop, contemporary r&b, bubblegum bass, synth funk, alternative R&B future bass, ratchet, hyphy, EDM trap & deconstructed club to conceptually parody the ideas of gender & masculinity.

Score: 4/5

Big K.R.I.T. – “K.R.I.T. Iz Here” review

Big K.R.I.T. is a 32 year old MC & producer from Meridian, Mississippi who started out by releasing a few mixtapes from the mid to late 2000s. He eventually signed to GoodTalk Records in 2010 & his 6th mixtape K.R.I.T. Wuz Here that same year landed him a joint venture with Def Jam Recordings & a spot in the XXL Freshman Class in 2011. His first 2 studio albums Live from the Underground & Cadillactica in 2012 & 2014 respectively continued to show his potential, but then he went on to form his own label Multi Alumni some time after. His first outing under the new independent label was his previous album 4eva’s a Mighty Long Time in October 2017, which is hands down the best double disc hip hop album of the decade. However after dropping his T.D.T. compilation of EPs at the jumpstart of this year, he’s back with the sequel to the tape that got Krizzle where he is today.

The album kicks off with the title track, where K.R.I.T. reflects about his time with Def Jam over DJ Camper sampling of “Trust in God” by The Winans. After the “High End County” interlude, we then dive into the song “I Been Waitin’”. Where Krizzle is happy to talk smack over an eerily bland trap beat. The track “I Make Easy” brags about his skills over a boom bap beat with some beautiful background vocals while the song “Addiction” with Lil Wayne is of course a buttery lust tune.

The track “Energy” still sounds as smooth as it did on T.D.T. while the song “Obvious” serves a a pretty decent sequel to the previous cut. The track “I Made” talks about his success over a vibrant trap beat while the song “Everytime” is an empowering motivational anthem. The track “Believe” get conscious over a trap beat with a God-like atmosphere to it & while I do like how the song “Prove It” with J. Cole sees the 2 talking about loyalty, the spacious trap instrumental is just ok & K.R.I.T. awkwardly sounds like he’s doing his best Future impression on the hook.

The track “Family Matters” pretty much speaks for itself over a bland beat & after the “Blue Flame” interlude, the song “Blue Flame Ballet” is a sensual strip club banger. The track “Learned from Texas” is a chopped & screwed tribute that still sounds as great as it did on T.D.T. while the song “Outer Space” is a nocturnal weed anthem.

The track “High Beams” gets spiritual & the beat is pretty intoxicating, but the delivery sucks. The song “Life in the Sun” gets celebratory over a beautiful piano instrumental & then the album finishes with “Mississippi”, where K.R.I.T. pays tribute to his home state over a bass-heavy trap beat.

Yeah, this was just as decent as I expected. It’s more commercial than K.R.I.T.’s past material, but there are slightly more hits than there are misses.

Score: 3/5