Tory Lanez – “Slutty Bass” review

Another full-length studio LP & the 10th overall from Toronto, Ontario, Canada rapper Tory Lanez. Blowing up over a decade ago off The New Toronto mixtape, he ended up signing with Interscope Records the following year & releasing a total of 4 albums until departing at the beginning of 2020. Daystar that same fall gaslit everyone after shooting Megan Thee Stallion in the foot & coming off the dreadful sequel Peterson last spring that’re both considered to be the absolute worst music he’s ever made, he’s creating a new subgenre he’s been calling Slutty Bass.

“Slide” begins with him talking about pulling up your city with .40 & a Glock on him over an Atlanta bass instrumental when that’s not quite a good look for him whereas “Bulma’s Patience” disses Megan Thee Stallion by calling her bogus & blaming her for his incarceration. “Aggression from Saturn” mediocrely sings about being unsure whether or not he likes it that his partner’s aggressive just before “Planet Bass (NBLYB)” brings back the Atlanta bass vibes thanks to Nico Baran of Internet Money Records flexing that he has beat & millions of dollars.

We have Tory interpolating “Nokia” by Drake on “WongTong Soup” so he can tell this woman who says she wants to date him that she’s already with the wrong one leading into him bastardizing “Material Girl” by Madonna during “Pink Material” & falling completely flat. “Keyz to Vampa” assures his lover he’ll give her the guide on how to cherish him as long as she doesn’t judge while “The Hate of Friends” attacks this chick’s friends for disliking him.

“S.M.O. (Slut Me Out)” starts the 2nd half with me wanting to listen to Amaarae’s single of the same name considering that it’s far more superior while “Janne’s Cotton Candy” makes a bunch of trite references regarding being infatuated towards the very female he’s writing this about. “Krillin’s Fumble” confesses to an ex-girlfriend that he still has feelings for her when they’ve already broken up while “Fyne Shit Paradise” dedicates itself all to the fellas that got their heart broken & still can’t leave shorty alone.

Finally nears further towards Slutty Bass’ conclusion, “Nobody Land” vents the hatred he has for someone he used to love more than himself that was seeing somebody else while “Best Birthday Ever” tries to make his create his own version of tracks like “B.B. (Birthday Bitch)” by Krizz Kaliko & T-Pain or “Ratchet Happy Birthday”, the latter being one of Drake’s worst songs. “Party 4 Martians” uneventfully ends the album boasting he has 54 bitches on his dick, wanting to get naughty with all of them.

In no way am I trying to insinuate that I don’t like Atlanta or Miami bass because there’s a handful of music taking inspiration from both of those scenes that I enjoy, but Slutty Bass feels like Tory Lanez taking both of those styles & doing what artists like Cash Cobain or even Chow Lee have been doing with sexy drill for the past couple years. The lyrics are pretty much what I expected out of the 1 Umbrella Records founder this deep in his career & the production continues to top itself in terms of being uninteresting.

Score: 1/5

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Sunn O))) – Self-Titled review

Sunn O))) is a drone metal duo from Los Angeles, California consisting of bassists/guitarists Greg Anderson & Stephen O’Malley. Their full-length debut ØØ Void & the sophomore effort Flight of the Behemoth respectively were both solid, dropping the latter under Southern Lord Records. White1 alongside its sequel White2 & more specifically Black One all increased their popularity, the latter being my favorite in the Sunn O))) catalog. Oracle was great too, following it up with their 2nd best in my opinion: Monoliths & Dimensions. 观世音 however might be the band’s worst, coming off the more positively received Life Metal & Pyroclasts to make their Sub Pop Records debut with their 11th studio LP.

“XXANN” epically kicks things off with this 18 & a half minute drone metal composition whereas the doom metal-influenced “Does Anyone Hear Like Venom?” comes through with an ode to the pioneering black metal band Venom. The hypnotically repetitive 2nd & final single “Butch’s Guns” ends the 1st leg containing some of the strongest riffs throughout the full-length prior to “Mindrolling” experimenting with nature recordings. “Everrett Moses” continues the other half blending doom metal & dark ambient while “Glory Black” ends with a fusion of drone metal, ambient, nature recordings & impressionism reminiscent of Earth 2: Special Low Frequency Version.

Life Metal was easily the most I’ve personally enjoyed a Sunn O))) album since Monoliths & Dimensions, but Pyroclasts was almost as great & this new eponymous offering from the drone metal veterans demonstrates Greg Anderson & Stephen O’Malley willingness to evolve their unmistakable sound into bold new forms. Their Sub Pop debut predominantly takes it back to their roots m outside of the dark ambient, nature recordings, drone, doom metal, ambient & impressionism undertones handling all of the instrumentation by themselves rather than bringing some outside collaborators in.

Score: 4.5/5

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Thundercat – “Distracted” review

Los Angeles, California musician, singer/songwriter & producer Thundercat returning for his 5th studio LP. Emerging in the 2000s as the bassist for Suicidal Tendencies, he would subsequently sign to Brainfeeder Records & make his full-length debut The Golden Age of Apocalypse nearly a week before I started high school. He would follow it up with the sophomore effort Apocalypse a couple summers later & his debut extended play The Beyond / Where the Giants Grow a month succeeding my graduation became popular due to the inclusion of his most lauded single “Them Changes”. It would eventually be included on Drunk, which is his most cohesive musical statement & an essential within the Brainfeeder discography. It Is What It Is mourned the loss of his friend Mac Miller & he’s having Greg Kurstin produce most of Distracted.

“Candlelight” gets things going with this smooth R&B intro singing about a lighting burning at both ends whereas “No More Lies” co-produced by Tame Impala fuses psychedelic soul, neo-psychedelia, boogie, synth-funk & synthpop suggesting he’s better off staying on his own. “She Knows Too Much” by Mac Miller blends funk, neo-soul, pop rap, jazz rap, jazz-funk & disco rap to talk about a woman out of his league leading into “I Did This to Myself” featuring Lil Yachty hopping over a Flying Lotus instrumental combining neo-soul, funk, nu disco & disco rap to discuss relationships.

A$AP Rocky appears on “Funny Friends” rapping & singing about being homies until the very end just before the yacht rock-tinged “What’s Left to Say?” courtesy of Kenny Beats assures this person that the can spend their whole lives trying to figure out how they feel inside even if it’s a lie. “I Wish I Didn’t Waste Your Time” goes for a psychedelic neo-soul vibe with hints of jazz fusion & synth-funk addressing an ex-girlfriend of his while “Anakin Learns His Fate” compares himself to Darth Vader from the original Star Wars trilogy.

“Walking on the Moon” calmingly kicks off the 2nd half singing about a woman who takes him higher while “This Thing We Call Love” featuring Channel Tres tells their partners to take their time since it’s only them. “ThunderWave” featuring Willow Smith experiments with neo-soul, neo-psychedelia, tribal ambient, nature recordings, chillout & new age yearning for their lovers to hold them until reaching shore while “Pozole” suggests maybe he’s out of touch & only showing this person exactly who he is.

The song “A.D.D. Through the Roof” embraces a neo-soul sound talking about his attention deficit disorder going insane while “Great Americans sings over 1 last FlyLo beat about everything he does being a learned behavior of it’s own & landing on his feet every time he continues to fuck up. The self-produced closer “You Left Without Saying Goodbye” concludes the album clarifying that he hasn’t lost his sense of humor, hinting at posting his feet on OnlyFans being his new side hustle.

Exactly 6 years to the day since his previous full-length, Distracted could be my least favorite installment in Thundercat’s discography although there are some tracks I see myself revisiting & enjoyed it top to bottom slightly less than Big Mama last month. Greg Kurstin’s production culminates in psychedelic soul, neo-soul, alternative R&B, progressive soul, pop soul, jazz rap, nu jazz, synth-funk, jazz-funk, smooth soul, neo-psychedelia, boogie, synthpop, funk, pop rap, jazz fusion, disco rap, funk music, nu disco, tribal ambient, nature recordings, chillout, new age & yacht rock capturing the tensions between overstimulation & introspection.

Score: 3.5/5

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Giffy Pluggo – “The Layoff: No Hooks” review

Here is the 4th extended play from Chicago, Illinois emcee & ATIP Records founder Giffy Pluggo. Emerging a few years ago off his debut mixtape Paid Leave & its sequel, he would later put out an expanded version of his debut album Los Pluggos followed by Pluggo’s Birthday & Douda respectively. The latter mostly produced by Myles & becoming the most beloved entry in his discography thus far, coming off a Luxury Manifesto almost 9 months prior to break down The Layoff: No Hooks.

“Notice Received” recalls the very moment he was let go from his day job over a crooning vocal sample talking about this only being an overview of the feature presentation whereas “Overqualified” goes for a chipmunk soul vibe instrumentally boasts of copping a Cybertruck when I personally think they look like refrigerators although I don’t mind the interface of it. “Division Shut Down” talks about knowing your worth & labels having to pay him in advance while “Out Here” includes a dope bar referring to Ye’s debut The College Dropout.

Global appears on the song “Pink Slip Poetry” shifting towards a cloudier direction with the beat talking about the Cybertruck that Giffy copped earlier being unable to fit in his garage & considering it to be the problems of a baller while “Exit Strategy” incorporates some warm synthesizers so he can speak of growing up on a different type of block. “Restructured” spends the last few minutes of the EP announcing that Paid Leave 3 will be arriving soon over a drumless loop & going through a lot to get to where he’s at presently.

Giffy Pluggo has also confirmed that he’s working on something with Drumwork Music Group founder Conway the Machine as we speak & I look toward to that considering that the Black Soprano Family Records collaborations happened through him opening for Benny the Butcher several time. And in light of him getting laid off from his job, The Layoff: No Hooks rebuilds himself in real time & this improvement above Luxury Manifesto EP is only the beginning of this new era in his career. The production’s an improvement above the predecessor & conceptually, he’s taking a piece of the moment when life flips on us & we have to decide whether to fold or level up.

Score: 4/5

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LIFEOFTHOM – “Re-Route: Reflection” review

This is the 6th extended play from New York City emcee LIFEOFTHOM. Coming up in the late 2010s off his first couple EPs Thomas & Robot Jesus, he would go on to release 3 more in Floor 11 as well as Room 44 & Cocotaso respectively. Driving Blind produced by Plain Pat following an appearance on Lørd Skø’s sophomore effort United Palace has since become his most acclaimed material & Re-Route: Reflection produced by Supah Mario looks to reach that same pedestal.

“Can’t Help” featuring Meechy Darko gets things going with this gritty boom bap beat talking about being outside looking for the hard play whereas “Monday” goes for a summery vibe instrumentally telling this woman he can’t live without her. “The World is Yours” shift towards a cloudier direction realizing that it seems like he doesn’t need the internet anymore & “Grape Vine” ties it all up in the form of this boom bap outro talking about him staying asking questions because answering them is a bonus.

LIFEOFTHOM already has 5 other EPs he’s given over the course of this ongoing decade & I might not have Re-Route: Reflection above Driving Blind, but it’s pretty close & continues to dent more cracks into realizing his true potential than a lot of his earlier output a decade ago. There’s more of an obvious reflective approach to his songwriting & Supah Mario’s production is more lenient towards the trap sound he’s become known for over the course of a decade.

Score: 4/5

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Zukenee – “Trapped in the Dungeon” review

This is the 2nd mixtape from Atlanta, Georgia rapper/producer Zukenee. Starting in the spring of 2021 off his debut EP Undiscovered, he would continue to make a name for himself in the underground by putting out a couple more EPs in Castle & Playful alongside the debut mixtape Stop Playing. Subsequent exclusive singles like “OJAYS” & “Chest” would later become amongst his best since both of them were released in the span of a year & a half preceding Player Slayer. Guillotine, Birth of St. Slay, Slaytanic, Knight Shift, Eye Love U & Zuminati all followed except I hoped Trapped in the Dungeon would make up for the latter’s mediocrity.

“Que Lo Que” kicks off the tape flexing that spending an entire month in the studio over a beat with this quirky synthesizer whereas “Soso Sammy” produced by Bugz Ronin hits us with some nostalgic crunk vibes talking about him & his girl being hood. “Glahhh” incorporates some handclaps & pianos so he can talk about how Ice Spice stinks leading into “Impersonation” takes a darker approach instrumentally thanks to Cade boasting his double life.

As for “Fuck the Tab”, it could be the weakest track here because of the annoyingly distracting beat rather than Zukenee’s lyrics describing him breaking banks & punching faces for 96 seconds while “Masterplan” treads the terror plugg waters asking this person if he led them on & suggesting he can make their minds disappear if they’d like. The rage-inducing “Account” talks about having more love for his accountant than all of his bitches combined to open up the 2nd half while “Rappers” discusses having work & dope.

“Qooler” would be another favorite of mine talking about being a rich muhfucka over a lively instrumental Wheezy & Taurus made together while “U Made Me?” talks about moving both cake & bass along with shrugging off the notion of anyone being flyer than him. “Evel Knightvel” poses the question of whether or not one’s coming the way he does preceding the luxurious trap outro “Slimeball” talking about nobody questioning if he fucks with them because they would already know.

Already a quarter way through the year & Zukenee already makes up for Zuminati’s disappointing reception with a mixtape that I find to be more enjoyable although there are some moments I don’t see myself revisiting more than others. The experimental trap, dirty south, rage, crunk & terror plugg production feels like a breath of fresh air compared to the repetitiveness of it’s predecessor & that raises the stakes for the next tape Blunts & Blades and the Cardo-produced Zudo.

Score: 3.5/5

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Tony Shhnow – “Flood” review

New surprise LP & the 9th altogether from Atlanta, Georgia plugg pioneer Tony Shhnow. Being introduced to his music after my younger brother J$zpiech showed me his 4th mixtape Black Billionaires Club & the song “Vet” off the full-length debut Da World’s Ours 3, he then continued to turn heads with his 8th mixtape Reflexions to critical acclaim & I honestly wish I covered it considering that some of his best songs are on there like “Finessin’” or “Forgive Don’t Forget”. He would return to his plugg roots on the BeatPluggz produced Plug Motivation, Love Streak showed a more sensual side to him, Shadowbanned 2 dabbled with new sounds, the self-produced #NoOneElse was a step above Out the Woods & painted an introspective Self Portrait produced by Mike & Keys last fall. Looking to end the 1st quarter of 2026 though, Flood has dropped without any further warning.

“HWYC (Intro)” hops over a horn-inflicted trap instrumental to get the tape started talking about going hard whereas “Redbone” goes for a pluggier vibe admitting that he can slow done if he wants to, but has no plans of stopping. “Look Good” featuring ManMan Savage finds the 2 decently talking about making names of themselves around their neck of the woods until “Fuck You Mean” combines some synths & pianos shouting out a bunch of local labels who paved the way for him.

Dreek Jones joins Tony for “Salt Kills Snails” produced by Earl on the Beat moderately talking about getting so high in the morning to the point where neither of them can tell if it’s real or not while “No Plans” featuring Heartless Kid admits to turning down certain artists when their music comes on because they aren’t saying anything. “Priceless” has a cloudier sound to it talking about paying the price to become a boss just before “Road Rage” featuring D.R.A.M. & YoDogg references WWE Hall of Famer Mr. T over a soul sample.

“Legend Has It” featuring Luh Tyler kicks off the 2nd half with both of them talking about dying as street celebrities if their music careers don’t pan out the way they hope while “Need Me a Milli” cautions that things will get sticky for those who dare to run on him. “Pushin’ Player” featuring Ebo Sosa brings both of them together to talk about giving their demons Hell instead of fighting them these days while “Stackin’ & Flippin’” incorporates some synth-horns making bread whilst waiting for what’s his.

Jose Guapo’s feature on “Fa Nun” might be favorite throughout Flood, pairing to discuss that they ain’t turning up for nothing while “Seeumsayin” hops over some creepy synthesizer melodies getting on his gangsta shit lyrically. “Too Much” experiments with a jazzier approach instrumentally talking about some doing more for the goes than they should be & the outro “Spare Change” speaks of some being too weak over a woodwind.

Tony Shhnow has always been one of the most consistent artists in the entire plugg subgenre, but Flood would have to rank amongst the weaker entries of his discography although it contains slightly more highs than lows. He’s rapping his ass off & the varied production are both 2 of the biggest pros this album has going for it, except the half where he’s killing it by himself feels a lot stronger than the other half where he’s running laps around his guests.

Score: 3/5

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Fat Ray – “Santa Rosa” review

In front of us is the 5th studio LP from Detroit, Michigan veteran Fat Ray. A member of the trio B.R. Gunna alongside Black Milk & Young RJ, he would eventually go solo in 2008 by dropping the criminally slept-on The Set Up, but it wouldn’t be until a full decade later when it was followed with both The Lunch Room mixtape & then his sophomore effort Perseus. Santa Barbara proved to be the strongest since his debut until Food From the Gods topped it, dropping Santa Rosa in preparation for Food From the Gods II.

“Rap City in the Basement” hops over a drumless loop talking about having a lot of room for improvement & being 1 with the microphone whereas “Plates” energetically looks to flip the script every time he gets off the stage across the country. “2 B’s” gives off a more aggressive vibe talking about being in it to win it leading into “Fast Freddy” featuring Black Thought bringing both of them together to get on their battle shit lyrically.

The title track fuses boom bap with hints of jazz rap talking about moving shit all across America while “K-Dot Pool” looks to run up some plays until it feels like sap to everyone else. “Good Sense” brings some horns into the fold talking about how all his squad does it plot & maneuver just before “High Score” featuring Marv Won discusses all of these phony muhfuckas imitating their styles spreading a lot of poison in the music industry today.

“Lockdown” gets the last leg of Santa Rosa going cautioning that nobody wants to get shot down by him while “Big Worm” has a bit a funkier sound to it talking about having to make some turns because it was all apart of the process. “Change Us” featuring billy woods leans towards a drumless chipmunk soul direction explaining that they were raised by the homicide right near the danger & “Mitch Green / Scudded” spends the album’s last 4 minutes delivering a 2-parter.

Seeing the amount of love Food From the Godsgot last year made me really happy for Fat Ray because it was his way of showing how far he’s come since The Set Up, but I’m happy we got a Santa Barbara sequel in preparation of Food From the Gods II because fans of Santa Rosa’s predecessor will enjoy the follow-up as much. Ray’s hardcore/gangsta lyricism & Raphy’s boom bap/drumless production that made Santa Barbara so great is being brought back albeit amplified & bringing more higher profile guests on board.

Score: 4/5

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Kanye West – “BULLY” review

Chicago, Illinois rapper, singer/songwriter, producer, fashion designer & former G.O.O.D. Music founder Ye formerly known as Kanye West finishing his long-delayed 12th studio LP. Someone who I personally have considered a top 10 producer of all-time up until this point with 3 perfect 10s in his discography: The College Dropout, Late Registration & My Beautiful Dark Twisted Fantasy. He sadly lost touch with reality in 2025 for a 4-month manic episode amplifying the hate speech he’s been spewing since late 2022, for which he claims to be deeply mortified & has deep regret over. However, the final version of Bully is among us now that YZY SND signed a distribution deal with gamma. & removing all the YeI vocals that plagued the unfinished version of it around this time 12 months earlier.

The self-produced “King” samples “Reach for a Star” by Duke Edwards thanking Martin Luther King Jr. for him marrying Bianca Censori whereas “This a Must” goes for an industrial hip hop vibe talking about him coming for the glory during the Graduation era & the 9 Vicious adlibs were unexpected. “Father” featuring Travis Scott with co-production from Che Pope flips “Heavenly Father, You’ve Been Good” by Johnnie Frierson speaking of waking up to new versions of themselves leading into “All the Love” singing about having nothing to worry of & having YZY’s Head of Music 88-Keys sample “Fayek Alaya” by Fairuz.

North West instrumentally takes it back to the College Dropout/Late Registration days on the chipmunk soul-inspired “Punch Drunk” rapping about him having to lead to read between the lines just before “Whatever Works” flips “Don’t Wonder Why” by Cissy Houston referencing WWE Hall of Famer Arnold Schwarzenegger. “Mama’s Favorite” heavily builds itself around Ty$’s background vocals thanks to YZY SND in-house producer 1SRAEL of Working on Dying remembering his late mother Donda while “Sisters & Brothers” survives the infamous In a Perfect World sessions chopping up both “Get Involved” by Jonah Thompson & “My Loleatta (Dish Apella)” by Ellis D to discuss his antihero status.

The title track ends the 1st half sampling “Mujhe Maar Daalo” by Ashle Bhostle courtesy of The Legendary Traxster addressing all the controversy he got himself into between February & May of last year while “Highs & Lows” wasn’t as strong as the original version due to the sample not being cleared in time. “I Can’t Wait” featuring Lauryn Hill on the remix flips “You Can’t Hurry Love” by The Supremes talking about figuring the system out & being consecutive at shutting shit down while “White Lines” samples Stevie Wonder’s cover of “They Long to Be (Close to You)” by The Carpenters admitting he belongs by himself sometimes.

“Circles” might be the only track on the album that I don’t care for & it has nothing to do with Don Toliver handling all of the vocal performances, but rather the way “Huit Octobre 1971” by Cortex is being sampled. Makes me wanna listen to one of my favorite Madvillain songs “1 Beer” instead. “Preacher Man” has to be a top 5 on the whole thing flipping “To You with Love” by The Moments talking about the plot twist being convenient when there isn’t any lies told there while the downtempo “Beauty & the Beast” was originally conceived during the Donda sessions according to Mike Dean, sampling “Don’t Have to Shop Around” by The Mad Lads singing about overcoming a few things when I’d say it’s more than a few.

The song “Damn” has a significantly minimal approach to the beat pondering whether Ye ruined things or if it’s because this is the way he is while “Last Breath” featuring Peso Pluma comes together over a sample of “Bésame Mama” by Poncho Sanchez, going full Latin to tackle the concept of toxic relationships. That said: It’s another cut on here I’d do without. “This One Here” ends the album with a reworked version of a leftover from him & James Blake’s cancelled collaborative effort War looking back at all the hot water he got himself into since 2022, clarifying with confidence that he’s healed & moved on from it all in addition to killing his ego when the argument can be made that we haven’t seen Ye’s ego in it’s final form yet.

“Ok” featuring Don Toliver starts the deluxe run interpolating “Put On” by Jeezy which Ye was featured on with the help of Internet Money Records in-house producer Nico Baran pleading for their partners not to leave while the other bonus track “Mission Control” embraces a gospel direction singing about searching high & low. “Gemini Season” on the other hand could be one of the worst singles I’ve heard all year mainly because of it’s horrific songwriting although I don’t mind the drumless, contemporary R&B, pop rap & jazz rap mixtures.

Hype Williams’ visuals as a fan of the ブシロード-owned 新日本プロレス deserve to mentioned, adding onto his recent attendances at events put on by the サイバーファイト-owned division プロレスリング・ノア & DDTプロレスリング’s sister promotion 東京女子プロレス (TJPW). Appearances in the video include former 2-time NEVER無差別級6人タッグチャンピオン & 6-time IWGPジュニアタッグチャンピオンヨウ, former 3-time IWGPタッグチャンピオン, 7-time NEVER無差別級6人タッグチャンピオン & GHCタッグチャンピオン矢野通, AJPW世界ジュニアヘビー級チャンピオン, NWA World Jr. Heavyweight Champion, 6-time IWGPジュニアヘビー級チャンピオン, 2-time IWGPジュニアタッグチャンピオン & 2-time GHCジュニアヘビー級タッグチャンピオンタイガーマスクIV and former 5-time IWGPジュニアヘビー級チャンピオン, CMLL Arena Coliseo Parejas Campeon, 4-time IWGPジュニアタッグチャンピオン, NEVER無差別級6人タッグチャンピオン & GHCジュニアヘビー級タッグチャンピオンエル・デスペラード.

You’ll always have that group of people who say they won’t forgive Ye or listen to his music ever again after everything he said & did the year earlier, which is absolutely more than understandable & I can’t place blame on anyone for feeling that way because of morally obvious reasons. Nevertheless: If he’s truly committed to taking accountability or receive treatment to break a destructive cycle he’s based nearly his entire career off of, then Bully’s a start because merely calling it superior to the Vultures series would be a ginormous understatement. The production’s heavily reliant on the use of samples bouncing between the styles of neo-soul, experimental hip hop, drumless, chipmunk soul, alternative R&B, art pop, industrial hip hop & urban contemporary gospel revitalizing his passion now that he’s no longer under the reign of a major label.

Score: 4/5

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che – “Fully Loaded” review

New surprise EP & the 5th overall from Atlanta, Georgia recording artist che. Starting as a member of the 4ersona collective under the original moniker murkio before settling on cheRomani+ & later abbreviating it, it wasn’t until more recently where he decided to build a solo catalog for himself by putting out the debut EP 3 over a year ago & followed it up in the form of X or the original version of his 3rd EP Closed Captions a few summers ago. Crueger that same Halloween showed more of a Chief Keef influence & sayso says was an acclaimed rage debut of its own, coming off the beloved Rest in Bass to drop Fully Loaded.

The self-produced “$1M Mansion” begins with some synthesizers & 808s boasting the new crib he copped around his parts whereas “Promoting Violence” talks about people getting robbed for pennies. “White Folk” energetically describes his lifestyle becoming more expensive these past 2 & a half years but once “Tattoos” comes through with an ode to all of the ink he has on his skin, “Kittens” sends off Fully Loaded talking about being a big pup.

It’d be a huge stretch to put Fully Loaded in the same category as both of his LPs, but it feels like the beginning of a new era for che & eagerly await where his next album takes it beyond this point. The production experiments beyond the rage sound to explore trap metal & retain the Chicago drill influences of his previous material, spitting hardcore lyrics & using a deep voice reminiscent of Mr. Krabs from the Paramount Skydance Corporation subsidiary Nickelodeon hit series SpongeBob SquarePants.

Score: 3.5/5

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