XXXTENTACION – “A GHETTO CHRISTMAS CAROL!” review

With his trial coming up this Friday, Floridian 2017 XXL Freshman XXXTENTACION is giving his fans his 7th EP. The opener is the title track, where X getting braggadocious over an eerie trap beat from Ronny J. However, he doesn’t sound exciting & the “Day ‘n’ Nite” reference during the hook is corny. The next song “Hate Will Never Win” gets conscious over the instrumental of “Life” by the Funky Cowboys, but he’s just mumbling atonally. Also the Donald Trump samples X incorporates at the beginning & the end were nice, but they didn’t need to be there during the verse as well. The “Up Like an Insomiac” freestyle actually feels like a finished track, but the beat is bland & his delivery is annoying as Hell. The 1-minute “Red Light!” has a mediocre beat & X’s angrily delivered lyrics are substance-less. The closer “Indecision” might be 2 minutes, but it’s super underwritten. Honestly, this is almost as bad as X’s 17. The production is subpar & almost every track still sounds as unfinished as before

Score: 1/5

Juicy J – “Rubba Band Business” review

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Just 3 months after the release of his fantastic $uicideboy$ produced Highly Intoxicated mixtape, 3 6 Mafia co-founder Juicy J is finally delivering his 4th full-length album. After the 39 second intro, we get into the first song “Feed the Streets”. Here, J gets with his brother Project Pat alongside A$AP Rocky to talk about doing just that over a sinister trap beat from Metro Boomin’. The next song “A Couple” talks about doing drugs & having sex with hoes over an eerie instrumental from Tarentino while “Buckets” charismatically brags about ballin’ on your bitch at the club over a haunting beat from 808 Mafia co-founder Lex Luger. The song “Dodgin’ the Snakes” jabs at all the haters with a beat from YK fits that the mood perfectly & while I can appreciate the track “Drop a Bag” dissing all the studio gangsters, the G-O-D feature was mediocre to me. The song “Too Many” with Denzel Curry speaks on doing a large amount of drugs over an atmospheric instrumental from Murda Beatz.

The track “Ain’t Nothing” sees J & his TGOD Mafia cohort Wiz Khalifa getting braggadocious over a banging instrumental from Mike WiLL-Made It, but I wasn’t crazy about the Ty$ hook. The song “Flood Watch” talks about the trap life over a piano-trap beat from TM88 & the Offset verse isn’t too bad either. The track “Only One Up” will make you wanna right someone from the abrasive YK beat to Juicy’s energetic performance. The song “Hot as Hell” sees Juicy feeling himself a little too much over a generic trap beat while the penultimate track “No English” talks about getting fucked up over a wild instrumental from Lex Luger & TM88. The Travi$ Scott hook here is pretty decent as well. The closer “On & On” left little to be desired, primarily because it feels more like an leftover from Belly’s latest mixtape Mumble Rap.

Overall, this was well worth the 4 year wait. There are some weak moments, but the production bangs & Juicy sounds energetic as ever for the most part

Majik Ninja Entertainment – “Twiztid Presents: Year of the Sword” review

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Majik Ninja Entertainment is an underground hip hop label that was founded in 2014 by Detroit hip hop duo Twiztid. The roster has been immensely growing since it’s inception of this year specifically, they’ve dropped 1 great release after another. And now to close out such a great year for them, they’re now giving the fans a compilation featuring new songs from every artist on the label. After a 90 second intro, we then get into the first song “Heads Will Roll” by Gorilla Voltage & Jamie Madrox. Here, they‘re bragging about how their skills will amaze you over a sinister instrumental. The next track “Turn It Up” by Blaze Ya Dead Homie, Bonez Dubb & Lex the Hex Master sees the 3 MCs aggressively getting in your face over a chaotic beat while the track “Fucked” by Boondox, Gorilla Voltage & The R.O.C. talks about how crazy they all are over a haunting instrumental. After a 15 second skit with “Level Up!”, we then get into the next song “Their Fault” by Jamie Madrox & Young Wicked. Here, they’re predominantly singing about those who never gave them a chance & while the vocals during the first half seem nasal, it definitely picks up on the second half. The song “Ignite” by King Gordy, Mr. Grey & Zodiac MPrint talks about how they’re never gonna fall over a killer rap rock instrumental & then “Cut ‘Em Up” by Twiztid & Young Wicked rapidly talk about killing their competition over an abrasive yet eerie instrumental. The song “Lights Out” by G-Mo Skee, Mr. Grey & Twiztid angrily talks about getting murderous on their last day alive & the rap metal instrumental on here fits the vibe like a glove. After the 30-second “Harassment” skit, we then dive into “Don’t Fuck wit Us” by ClocworC, the House of Krazees & Lex the Hex Master. The lyrics are self explanatory, but they’re delivered fantastically over this menacing yet thumping instrumental. The song “Better Than Ever B4” by the Axe Murder Boyz, G-Mo Skee, Lex the Hex Master & Triple Threat talk knowing now than ever before about over some twinkling piano keys & an organ while “Flix ‘n Chill” by ClocworC, Triple Threat & Young Wicked is a predictably decent love song with a wavy instrumental. The song “Get High” by the Axe Murder Boyz, L.A.R.S., Mr. Grey & Triple Threat is self-explanatory weed anthem with a druggy beat while “Galaxy” by G-Mo Skee, Jamie Madrox & King Gordy sees the 3 looking for a challenge over a synthesizer-heavy instrumental. The song “Don’t Tell Me” by Boondox, Gordy & Twiztid tells the haters they’ll never listen to them over a grimy yet thunderous beat & then after the 20 second “Summon the Majik Ninja” skit, we then get into the final song in the standard edition “B.N.U.” (an acronym for Brand New Underground). It’s an explosive posse cut where everyone on the label all talk about their prowess. The “Did You Unplug It?” skit is the final track on here, but there is a bonus disc with 9 tracks. All of which are new solo cuts from each signee on the label, with the exception of Lex the Hex Master’s being previously released on his latest album Beyond Redemption. As a whole, this was a great way for Majik Ninja to end their 2017 & it’s just another example of why they’re one of my favorite labels out right now. The production is gritty as usual & everyone compliments each other fantastically. Can’t wait to see them continue their string of successfully raw releases in 2018

Score: 4/5

Miguel – “War & Leisure” review

This is the 4th studio LP from Los Angeles, California singer/songwriter, actor & producer Miguel. Introducing himself in 2010 off his moderate full-length debut All I Want is You, his sophomore effort albeit RCA Records debut Kaleidoscope Dream & the follow-up Wildheart a month after my high school graduation would both go on to become some of the most beloved alternative R&B of the previous decade. Over a couple years later, he’s ready for some War & Lesiure.

“Criminal featuring Rick Ross begins comparing their love to committing crime over a wavy yet smooth instrumental, but there are a handful of cringey lines on there. Especially the ones about Columbine & Duck Duck Goose near the end of the first verse as well as the one about 9/11 at the start of the second verse. The next song “Pineapple Skies” sees Miggy telling his lover everything will be ok over a spacey instrumental while “Sky Walker” with Travis Scott cleverly inserts many pop culture references as they brush off their haters over a druggy beat.

The song “Banana Clip” talks about protecting this woman in a war on love over a funky instrumental & the song “Wolf” compares himself to just that over a guitar & explosive drums from Raphael Saadiq. The song “Harem” encourages this woman to follow him to see the world in a new way over a mellow instrumental & then the track “Told You So” talks about setting his lover free over a Jeff Bhasker instrumental kin to Michael Jackson’s output during the 80’s.

The “City of Angels” is a vividly told story of Los Angeles fictionally getting destroyed & Miguel expressing his remorse of cheating on his girlfriend prior to her getting killed in the bombing over a down-tuned guitar. The track “Caramelo Duro” (“Hard Candy” in Spanish) is Miggy’s first predominantly Spanish song, but he does it fantastically over this funky beat.

The song “Come Through & Chill” is pretty self-explanatory, as both Miguel & J. Cole encourage their ladies to swing by their cribs to have sex all night over a tropical Salaam Remi instrumental. The track “Anointed” is pretty much Miguel telling his woman that she makes him feel like a God over some bass & then the album then finishes off with “Now”,’ where he gives his take on the world today over a twangy guitar.

Given that I still may have enjoyed a great deal of War & Leisure, I wouldn’t put it in the same discussion as Kaleidoscope Dream or Wildheart. The contemporary/alternative R&B production with minor influences of synth-funk & neo-soul doesn’t feel as ambitious as both of it’s predecessors were during my adolescence with the subject matter getting more political than Miguel has ever been previously.

Score: 3.5/5

Big Hoodoo – “asylum” review

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This is the 4th studio LP from Detroit, Michigan emcee Big Hoodoo. Originally coming up as Doe Dubbla. Under that original moniker, he put out a double-disc full-length debut in 2008 called Stack’n & later followed it up with Hiatus in 2012. However it wouldn’t be until 2013 when Dubbla signed Psychopathic Records, put out his 3rd album Crystal Skull that summer & became the black magic practitioner that he is today. 3 years later, he’s taking y’all through the asylum.

After a 2 minute intro, we finally get into the first song with the title track. Here, Hoodoo gets confrontational over a haunting instrumental. The next song “Runnin’ from My Magic” telling the listener to witness his illumination over some creepy keys & a super funky bass-line. Also, the Mystikal nod at the beginning of the first verse was really cool. The next 2 songs “I Bring Death” & “The Yard” get murderous over eerie beats, but I think the first one does a better job at it minus the nasal hook from Young Wicked.

Then on “Out My Mind”, he talks about insanity over a semi-druggy instrumental. Also, the line about a hoe telling him his jizz was delicious at the beginning of the final verse was pretty hilarious to me. The track “Boom Boom Piggy” disses crooked cops over a menacing instrumental & the song “Go Get ‘Em” sees Tha Hav Knots angrily attacking at their enemies with an instrumental & hook that will get you in the mood to fight. The track “Calm Down” may have uplifting instrumental, but everything else about it is just alright outside of that.

“Monster Squad” with Anybody Killa, the Axe Murder Boyz, DJ Paul & the Insane Clown Posse is a gritty Psychopathic posse cut with a haunting instrumental while “Psycho Love” is a predictable Bonnie & Clyde-esque love song, it’s not that bad. The song “Shadows” talks about the end coming over an eerie instrumental & then the penultimate track “I’ve Seen Pain” vents about the world of sin over a sinister instrumental.

The album then closes with “The Passage, where Hoodoo & Blac gets ambitious over some keys. However, Blac didn’t really captivate me & it didn’t need to be 9 minutes long. Honestly, this was an improvement over Big Hoodoo’s debut. It sounds a lot more darker & Hoodoo really improves himself as an MC.

Score: 4/5

Fabolous & Jadakiss – “Friday on Elm Street” review

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Just when it seems it would never come out, Fabolous & Jadakiss finally deliver their long-awaited collab album just in time for Black Friday. The intro sees the 2 MCs comparing themselves to Freddy Krueger & Jason Voorhees respectively over a haunting beat that switches up during each verse. The song “Stand Up” is an ode to the “real niggas” over an abrasive trap beat & a decent Future hook. The song “Theme Music” sees Fab & Jada going back & forth about rising up from the bottom over a Swizz Beatz instrumental with a beautiful Marvin Gaye sample & then “Ground Up” tells all the frauds to be careful around their hoods over a gritty instrumental. The track “Soul Food” gets insightful over a fittingly soulful instrumental & while the song “Principles” does talk about the g-codes from their perspectives, the execution of the hook isn’t all that great. The track “Talk About It” intelligently gets conscious about the world today over a wavy instrumental & the Teyana Taylor hook is on point as well. The song “All About It” sounds like a failed attempt at a radio hit from the production & the French Montana hook to Jada & Fab starting off their verses by singing for a bit. The track “I Pray” sees the duo sincerely asking God to forgive them, but the Swizz Beatz hook kinda gets annoying after a while. The song “Ice Pick” is a gritty Jadakiss solo cut with Styles P on the hook & the penultimate track “Nightmares Ain’t as Bad” is a Fabolous telling the listener to make their dreams meet real life over a somber instrumental. The album closes out with an unnecessary remix of “Stand Up” which is pretty much the same thing as the original with the exception of a Yo Gotti verse where he copies Jeezy & then a verse from the actual Jeezy. This thing has been hyped up for a while now & I think it lived up to it. Despite some weak moments, Fabolous & Jadakiss show quite a bit of chemistry together during it’s nearly 45 minute run-time

Score: 3.5/5

Hopsin – “No Shame” review

With his last album Pound Syndrome being release in Mid-July of 2015 & his previous label Funk Volume going defunct at the beginning of 2016 due to a falling out with his former business partner Damien Ritter, California rapper/producer Hopsin is back on the scene yet again with his 5th full-length album & his first under his new 300 Entertainment imprint Undercover Prodigy. The album opens with “Hotel in Sydney”, where he passionately vents about his arrest for alleged assault over a symphonic instrumental. Unfortunately after that, the album takes a drastic nosedive. The next song “Right Here” basically tells the audience he isn’t going anywhere & while it’s just ok, the hook is annoying as fuck. The track “Twisted” informs the listener to respect him over a generic trap beat & then after a 1-minute skit, we then go into the song “All Your Fault”. Here, he disses his ex-girlfriend Alyce Madden along with his former label mate SwizZz & his haters in an angsty fashion over a Middle Eastern influences instrumental, but I think SwizZz was a tad bit uncalled for & the hook is annoying as fuck. The track “Money on the Side” has a nice flow, but the beat is synthetic & the lyrics about fingering a hooker’s asshole ruins it. The song “I Wouldn’t Do That” talks about being in his zone over an eerie trap beat, but calling yourself “the only MC in this wack genre” is flat out disrespectful to all of those who came before you. The track “Black Sheep” talks about being the titular idiom albeit in a corny fashion over a somber instrumental & then “I Must Be On Somethin’” talks about being crazy over a hard hitting beat. The song “Tell’em Who You Got It From” disses Alyce yet again, but the delivery is cliché as is the hook. The song “The Purge” talks about Hop’s return over an eerie trap beat & his rapid-delivery on here is insane. As for “Happy Ending”, it could very well be the worst song I’ve heard all year. It’s supposed to be a “humorous” tale about Hopsin getting fucked by an Asian woman in a massage parlor, but it’s actually in horribly bad taste. Especially with the God awful stereotypical Asian accent he does during the hook. The song “No Words 2” is a follow-up to the song “No Words” off his last album & while the original was funny, it’s hypocritical that he’s dissing Migos on this sequel considering the fact that he’s rapping over their type of trap beats on a lot of the other tracks on here. The track “Panorama City” talks about grinding over a g-funk beat that actually isn’t too bad & then “Ill Mind of Hopsin 9” is the new installment of Hopsin’s popular song series. This one is Hopsin talking to his newborn son that he can’t see due to being banned from Australia & while I can see where’s getting at about gold diggers, the lines towards Alyce make it this message come off as bitter. The penultimate track “Marcus’ Gospel” sees Hopsin getting vulnerable over a a churchy instrumental & then the nightmare finally ends with “Witch Doctor”, where he’s telling the listener not to fuck with him over a tribal instrumental. Over the course of it’s 73 minute run-time, I can say that Hopsin has only come through with SLIGHTLY better album. I will give him credit for him improving his delivery & flow but I can’t say the same for his lyrical topics, production & hooks. There are a few decent moments, but Hopsin still comes off as corny as ever on here

Score: 0.5/5

Super Sag Bros – Self-Titled review

The Super Sag Bros are a duo from Manchester, England, United Kingdom consisting of emcee/producer Black Josh & emcee Sleazy F Baby. Both of whom are members of the Cult of the Damned collective & have crossed paths with each other several times on tracks like “Ohana” or “Gucci Glasses” & “Gang Gvng” to name a few. Looking to elevate themselves to the next level, it doesn’t surprise me that Blah Records is putting out their eponymous debut EP through the London imprint.

We get a cloudy trap instrumental during the intro “28 Grams” talking about levitating in the middle of them getting blazed so much that they’re walking on air & the whole crew looking fresh whereas “Burner” suggests not to call their phones if there isn’t a job for either of the Super Sag Brothers who always stay 1 step ahead. “Paranoia” gets the 2nd half of the EP going by talking about staying stoned on a daily basis while the closer “10 Bud” passes it to the left fusing jazz rap & trap.

Commemorating the process of weed becoming legalized in both the UK & the United States respectively, Black Josh & Sleazy F Baby whip up a 14 minute extended play trading verses over trap production taking secondary influences from jazz rap & cloud rap in time for Black Friday. I might even prefer it a bit more than the B-Movie Millionaires’ eponymous debut EP a few years earlier partly due to the Super Sag Bros having no guest appearances at all despite enjoying nearly ever feature on there.

Score: 4/5

Antiheroes – “Disasterpiece” review

The Antiheroes are a duo consisting of Runcorn, Cheshire, England, United Kingdom emcee/producer & Blah Records founder Lee Scott alongside Sari, Iran emcee/producer Salar. Introducing themselves in 2003 off their debut mixtape Middle Finger Salute, they wouldn’t return until almost a decade later when they dropped their full-length studio debut Flows for the Contemporary Urban Gentleman. However after taking a 6 year hiatus, Lee & Salar have reuniting for an extended play produced by Farma G & having Telemachus handle the engineering process of it all.

“Godnose” dustily begins advising to not stress over anything & to do your thing since they got your back whereas the title track encourages all to follow them on this path towards searching peace. We get some pianos mixed with kicks & snares promising to throw boulders at a “Glass House” just before “No Sleep ‘Till Mars” finishes this Disasterpiece with a quirky boom bap instrumental talking about both of them not losing a step after another lengthy period of inactivity.

It’s not very often where the Antiheroes release new music & almost 15 years since their formation, but I could debate Disasterpiece for only an EP places itself above Flows for the Contemporary Urban Gentleman & Middle Finger Salute in becoming the greatest thing Lee Scott & Salar have ever made together. Farma G’s production here sounds a lot rawer than both of its predecessors & for 4 tracks clocking at over 10 minutes, both of them sure deliver in that short amount of time.

Score: 4/5

Kap G – “Mood” review

A little over 7 months after the release of his debut SupaJefe & about 5 months after being included into the 2017 XXL Freshman Class, College Park rapper & i am OTHER signee Kap G is delivering a 3-track EP. The first song has a decent piano trap beat, but I feel like he bites Future a little too much vocally. The next track “Marvelous Day” with Lil Uzi Vert & Gunna has a moody beat & all 3 rappers compliment each other pretty well in each verse. The closer “Big Racks” has a decent hook & instrumental, but the lyrics just too cliché for me. While I do enjoy some of Kap G’s songs, this was a mediocre EP. If he’s gonna stick with the trap sound, he really needs to find his own lane. He also needs to work with Pharrell lot more as well

Score: 2/5