Aesop Rock – “Black Hole Superette” review

Here we have the 11th studio LP from New York emcee/producer Aesop Rock. Universally revered for his massive vocabulary, the man has put out a handful of underground hip hop essentials throughout the decades whether it be his solo catalogue or his membership of groups like Hail Mary Mallon or Malibu Ken. As far as his solo stuff: I recommend his sophomore effort & Definitive Jux Records debut Labor Day alongside The Impossible Kid, which was his 2nd album with Rhymesayers Entertainment whom Aesop had made himself home with for over a decade at this point. Blockhead had fully produced Garbology to acclaim & Integrated Tech Solutions has quickly received the same love The Impossible Kid, returning for a trip to the Black Hole Superette.

“Secret Knock” opens up shop with a quirky & futuristic self-produced instrumental advising to walk with him & opting to not go on any signal taking it in his own hands whereas “Checkers” works in elements of abstract conscious subject matter, space ambient, boom bap & illbient that made for a promising lead single. “Movie Nights” turns up the boom bap influences even more talking about his blue eyed dog & his cat prior to the synth-driven “EWR – Terminal A, Gate 20” explaining that vandals are unordinary now.

Armand Hammer teams up with Aesop on the collab “1010WINS” taking their consciously abstract pens to newer grounds with one another over a rap rock/boom bap hybrid while “So Be It” featuring Open Mike Eagle finds the 2 advising to not look down, sitting still & letting things fall. “Send Help” takes a jazzier boom bap approach to his sound & going nerdcore at the same time just before “John Something” brings lounge music in the fold recalling a man named John he met 3 decades ago referencing WWE Hall of Famer Muhammad Ali.

“Ice Sold Here” intricately describes how cold he is in many different ways while the funky “Costco” talks about the chain of membership-only big-box warehouse club retail stores operated by the multinational corporation. “Bird School” puts a cloudy spin on boom bap boasting his witchcraft pops up in the Atmos & everyone else’s taking practice, but then “Snail 0” wants to know what the fuck he’s supposed to do with this bagful of snails he has.

Lice gets together with Lupe Fiasco on “Charlie Horse” warning that everyone in their path should stay as clear from the streets as they possibly can while “Steel Wool” reflects on going from pairing cereals & cartoons back in the 80s to panicking in a war room turning up the quirky boom bap vibes. “Black Plums” tackles the theme of gardening admiring the way his fruit is getting fatter each summer & becoming a minute quantity of matter while “The Red Phone” talks about being the keeper of the keys.

“Himalayan Yak Chew” pushes further down the last 10 minutes or so of the album describing fish jumping in his boat whenever he pushes off of the dock without even getting a single duck in a row in addition to having a horse in the way when he gets his car without having 1 in the race & “Unbelievable Shenanigans” featuring Hanni El Khatib on the outro recalls a hamster he had almost 4 decades ago named Elizabeth as well as talking about the universe nothing if not silver lining stuffed into compartments.

Delving into the invisible forces that shape our lives & psyches, Black Hole Superette will become amongst Aesop Rock’s most technically accomplished bodies of work in his entire discography. The experimentally complex structures of his beats drawing further inspiration from space ambient, boom bap, jazz rap, rap rock & illbient attribute to that as much as his consciously abstract & occasionally nerdy lyrics portrayed from the perspective of a mad scientist seeing bigger picture of the small moments in our lives that wind up overlooked.

Score: 4.5/5

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Molly Santana – “Molly & Her Week of Wonders” review

Los Angeles, California up-&-comer Molly Santana with her sophomore effort. Originally a streetwear influencer, the Fontana native began making music in 2021 by releasing her debut EP Molly’s World as well as her debut mixtape Neptune & her 2nd EP Mélange. Her eponymous full-length debut studio album resulted in her signing a joint deal with Victor Victor Worldwide & Capitol Records despite the moderate reception, which Masonic Musik made up for. Fast forward 8 months, Molly & Her Week of Wonders looks to continue solidifying herself on the Victor Victor/Capitol labels.

“No Rules” produced by Internet Money Records in-house producer Synthetic is this rage-inducing intro rapping about her gratitude towards living without any restrictions whereas “Piss Me Off” melodically looks to get what’s hers for the cause & a triumphant vibe to the instrumental. “Cayenne” blends hypertrap & electronic music boastfully cashing out with the drop top while “Unstoppable” featuring che joins forces with CXO for a highly enjoyable rage collab.

Tom Levesque of Vanguard Music Group gives “Handle It” an industrial trap flare promising her pistol will make anyone famous homaging the late Freda Santana just before “BRB” featuring Showjoe teams up for a pluggnb/drill hybrid talking returning to the people who count on them. The single “Not Regular” shuns the individuals who want to test her over a poppy & cloudy trap beat until “Been Did That” featuring labelmate Hardrock advising all these hoes to sit back.

“Acting Nice” asserts Molly’s dominance & shutting down any hate that’s thrown in her direction while “Globe” fuses rap rock & trap talking about life moving quicker than ever carrying the show on for those who can’t be here with us & the increase of hate speech. “Honest” makes it a point to be the only one in a circle of loved ones who keeps it 100 rather than lying to them while “When I’m Gone” instrumentally reminds me of Yeezus wanting to be remembered & leaving a mark on the industry.

Moving on from there, “I Know” taps in with Supah Mario asking her lover to hold her down apologizing for fucking up a night out while “Life I Chose (Ms. Americana)” homages “Summertime Sadness” by Lana Del Rey. The song “Set Up” finds herself running back to her old ways continuously while “Stupid Money” cloudily talks about it being time to up the scores. Lastly, the closer “Weekend” advises everyone to stay high chasing their dreams & getting the bag.

“Everybody Knows” starts the deluxe run sampling “Backstabber” by Ke$ha talking about everyone around her accepting the fact she’s becoming richer than she ever would’ve suppose she would while “1/1” suggesting it’ll be a long time until her exes find another woman like her in their lives. The final bonus track “Find a Way” strips the drums completely feeling confident that her day will come promising she won’t change.

Inspired by the film Valerie & Her Week of Wonders, Molly speaks a lot on what it feels like to be like a woman in the type of business she’s working with & in her world feeling like the movie’s plot translates what the world in general & the music industry feels like to most women. She’s pulling out all the stops with this more frequently & broader than Mansion Musik going crazy with her culminations of the rage, pop rap, cloud rap & trap styles she’s known for.

Score: 4/5

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ovrkast. – “While the Iron’s Hot” review

Oakland, California emcee/producer ovrkast. with his official full-length studio debut album. In almost a decade, he’s been making waves by releasing a couple mixtapes on top of 13 EPs in his discography later landing production credits ranging from MAVI to Earl Sweatshirt & even Drake. KastGotWings produced by Cardo became my new favorite EP of his last fall even if some would say it’s too early since it’s the most recent one as of me writing this & he’s finally striking While the Iron’s Hot for an LP.

After the jazzy “HOT!” intro, the first song “truth?” is drumless sample-heavy intro talking about shaking shit up and originally came away from “Small Talk” featuring Samara Cyn a little mixed on it even if I appreciate it more in the context of While the Iron’s Hot. “I’m On” shows a boastful side of kast with a laidback instrumental backing him just before the groovy “Stumblin’” talks about clumsiness showing when he’s trying to get a way.

“MAVKAST!” featuring MAVI after the “NewPowers” skit marks the official formation of a duo comprised of 2 of underground hip hop’s biggest artists in recent memory while “Spike Lee homages one of my favorite directors ahead of A24 Films putting out Highest 2 Lowest next month. “6AM” radiates intoxicating energy from the beat melodically talking about staying up late leading into “Strange Ways” featuring Vince Staples addressing the type of crowd with those uncommon tendencies.

The song “New Era” continues to travel down the final moments of ovrkast.’s debut hooking up a woodwind & a high-pitched vocal sample entering a new chapter in his life similarly to the way I myself did last summer while “Dog Days” featuring Frsh Waters & SABA talking about the hottest time of the year on top of some cumbersome piano chords. “On TIME!” closes the album with more keys wanting everyone to know he’s arrived exactly when he should’ve.

Going through an immense amount of change alongside loss & again to receive the clarity & focus in order for this day to come, ovrkast.’s debut feels refreshingly modern as a result of it’s contemporary & referential approach. Taking its cues from the sample-based production & lyric-centric approach that defined hip hop’s golden age, it’s not hard to blame him for having this as his favorite body of work ever.

Score: 4/5

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Benji Blue Bills – “Out the Blue” review

Atlanta, Georgia gangsta rapper Benji Blue Bills recruiting Working on Dying member BNYX to produce his 3rd EP. Introducing himself in 2018 off his debut EP Before the Storm, his last EP Blue saw him taking 3 years off only to return for the full-length debut Campaign Blue & a sophomore effort 500k Degrees showing significant growth compared to his earlier material. BNYX has undeniably become an in-demand producer of this decade & hearing him behind the boards throughout the duration of Benji’s official Atlantic Records debut Out the Blue had a lot of promising potential.

“I Wonder” co-produced by BNYX’s brother BEAUTIFULMVN starts with a soulful trap vibe instrumentally talking about the hunger that’s always been inside him finally coming out whereas “1-2 Step” heavily samples “1, 2 Step” by Ciara & Missy Elliott explaining that murder dancing is legitimately the only thing he knows how to do. “Feels CoreCore” heads towards a calmer, cloudier trap direction relating to what it’s like to lose a bitch leading into the rage-inducing “Morgan” finding himself going crazy.

Moving on from there, “Taco Shells” has to be my least favorite track if I had to pick one mainly due to it being one of the more repetitive moments lyrically just before the futuristically bell-woven “All the Way” talks about everything falling in place. “Aye Rage” gives new jazz a shot so he can throw shade towards jace! & “Right Key” gets on his pluggnb bag for a brief minute keeping his heart in a safe. “Down Girl” featuring Duki rounds out the EP with a bilingual romance duet doing anything if one or the other is down.

His name has come up on my radar a few times in the current decade because of his ties with DJ Phat or singles like “I’m Right Here”, but BNYX really locks in with 3B on Out the Blue enough where I can call it the greatest body of work the latter has ever conceived. BNYX’s production backs 3B’s gangsta heavy themes channeling the sounds of chipmunk soul, trap, pluggnb, rage & new jazz elevating the Atlanta artist’s whole style to coincide with his major label deal.

Score: 4/5

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Alan Sparhawk – “With Trampled by Turtles” review

Duluth, Minnesota singer/songwriter Alan Sparhawk recruiting local band Trampled by Turtles to produce his sophomore effort. One of whom was the lead singer of the slowcore band Low breaking up in 2022 & the other is a bluegrass folk sextet with 9 full-lengths under their belt already. Alan signed to Sub Pop Records for his solo effort White Roses, My God met with mixed reception due to its leanings towards alt-pop, indietronica, alternative R&B, trap, minimal wave & cloud rap compared to the ambient inspired Solo Guitar turning 20 next summer. With Trampled by Turtles based on the singles had me thinking it could outdo both of them & that’s why I dove right into it.

The lead single “Stranger” was a great Americana/indie folk intro further pulling from progressive bluegrass singing about having to go through some dangerous things than you thought you’d have to whereas “Too High” addressed a part of this person that nobody knows other than Alan acknowledging their blindness instead of imbecility. “Heaven” sings of the pearly gates being a lonely place if you’re alone prior to the alt-country/chamber folk hybrid “Not Broken”eventually learning something I’ve potentially heard.

“Screaming Song” works in some prominent acoustics feeling like he’d never stop screaming this individual’s name when they flew out the window & into the sunset but after a remixed version of “Get Still” from Alan’s debut, “Princess Road Surgery” asks what this girl see in adversity stripping back the sound further. “Don’t Take Your Light” tells God he can be patient & hopeful with an alt-country flare until “Torn & in Ashes” wants to know when the last word will be as the first because of getting the same answer repeatedly.

When you think of the fact Low had mentored Trampled by Turtles & had performed with each other several times, there’s no doubt in my mind Alan’s follow-up to his debut last fall feels like a more collective, communal, fraternal & empathetic entry in his catalog than it’s predecessor. His friends & loved ones who’ve always been beside him make his sentiments drenched in Americana, indie folk, progressive bluegrass, alt-country & chamber folk seem as if they aren’t his alone regardless of Alan being the primary vocalist.

Score: 4.5/5

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Vader – “Humanihility” review

Vader is a death metal band from Olszytn, Poland consisting of original rhythm guitarist Mauser, backup rhythm guitarist Spider, bassist Hal, drummer Michał Andrzejczyk & frontman Peter. Beginning as a more traditional heavy metal group until moving on to thrash as well as speed & finally the death metal style they’ve become known for today, their first couple albums The Ultimate Incantation & De Profundis would become the most beloved entries in their discography. MNRK Music Group signed them for Black to the Blind & joined Metal Blade Records in a 3-album deal: Litany, Revelations & The Beast. Since 2009 however, they’ve been making theirselves at home with Nuclear Blast Records by putting out their last 5 LPs Necropolis, Welcome to the Morbid Reich, Tibi et Igni, The Empire & Solitude in Madness in addition to their last 3 EPs Go to Hell!!!, Iron Times & Thy Messenger on the label. Almost 5 years since Solitude in Madness, they’re reuniting for their 9th EP & the 9th project overall since the Nuclear Blast deal.

“Genocide Designed” was a tight deathened thrash metal intro singing about being a parasitic humanoid & rotten thoughts born in the deepest pits of Hell whereas “Rampage” works in more blistering tempos, technically palm-muted riffs & rapidly shredding solos describing an eternal war. “Unbending” sends off the EP with a death metal single calling to be respected for the soul he’s become even if it’s a surrealistic plea from his perspective

For only being 3 songs & 9 minutes at length, Humanihility’s viciously old school thrash metal direction contains enough ferocity to match the traditionally neck-breaking tempos Vader has become known for in the last 4 decades. It has a more personal style to it than Solitude of Madness, fusing the death metal sound they’ve become known for in over 3 decades & mixing elements of thrash along the way to hold off fans whenever their 13th album comes.

Score: 3.5/5

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Rivers of Nihil – Self-Titled review

Reading, Pennsylvania progressive tech-death metal band Rivers of Nihil consisting of lead guitarist/keyboardist/programmer Brody Uttley, drummer/backing vocalist Jared Klein, rhythm guitarist/backing vocalist Andy Thomas & bassist/frontman Adam Biggs returning after 4 years with an eponymous 5th LP. Signing to Metal Blade Records on my 16th birthday in 2012, their full-length debut the next fall The Conscious Seed of Light & their sophomore effort Monarchy broke their ground as a progressive tech-death outfit until Where Owls Know My Name became notable for it’s secondary djent & jazz fusion influences. The Work toned it down on the death metal elements in favor of standard prog metal & had a feeling this self-titled body of work would delve further down that rabbit hole.

“The Sub-Orbital Blues” was a tolerable progressive death metal single singing about the dichotomy of living in a 21st century society rife with scientific & technological advancements whereas “Dustman” asks if you believe what you see & being nothing but dust. “Criminals” had to be my least favorite single due to it’s meat & potatoes take on death metal, melodic metalcore & deathcore preying on innocent men while “Despair Church” promises to take the whole world away.

To end the first half, “Water & Time” encourages to let those 2 things disintegrate it leaves you alone lost in space going for a progressively melodic death metal direction just before “House of Light” ditching the melodic elements of the previously mentioned single asking for a sign to be set free told no lies. “Evidence” turns up the hostility talking about dangerous games being played with a cage, waiting at the end, but then “American Death” refuses to believe a word said & calls themselves the American Dream itself.

“The Logical End” keeps the progressive death metal hybrids going singing about building another empire right where they’re standing due to them never having to see a logical end for as long as they live the rest of their days & not fading away while the title track appropriately finishes the album asking not to breathe in a disease born from the flowers of despair, encouraging to wake up or you’ll bе swept away because of another day being lost wasted.

Setting out to bring the sounds of their previous material with all the fat cut away, Rivers of Nihil complete their mission successfully with a body of work reminiscent of The Conscious Seed of Light & Monarchy in terms of technicality with the only exception being these guys having a mature understanding of pacing or bringing a more refreshed perspective of the experimentation throughout Where Owls Know My Name & The Work respectively.

Score: 4.5/5

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Swans – “Birthing” review

Swans are a highly regarded New York experimental post-rock outfit masterminded by Young God Records founder Michael Gira. Their lengthy discography includes essentials in the band’s respective styles like Filth, Children of God, White Light From the Mouth of Infinity, The Great Annihilator, my favorite of theirs Soundtracks for the Blind, my 3rd favorite The Seer, my 2nd favorite To Be Kind & The Beggar. The latter will be celebrating its 2-year anniversary next month & Birthing’s getting us ready for another summer.

“The Healers” was a magnificently ambitious evolving intro embarking on a 21 minute journey through slick textures on an ocean of sounds singing about the heavens raining down knives of silver to kiss our bodies in the river whereas “I’m a Tower” sticks out as a Single of the Year contender bringing together post-rock, experimental rock, drone, krautrock, totalism, poetry, art rock, post-punk, goth rock & noise rock fluidly for 19 minutes.

Getting to the title track, it evolved into a lengthy sonic beast full of colorful grooves & rich soundscapes because of of multiple portions of it improving progressively during the band’s last tour advising all these motherfuckers to pay attention to him prior to the shortest track here “Red Yellow” fuses their experimental post-rock sound with goth rock with a hook that’s powerfully sung enough to send goosebumps down your arms.

“Guardian Spirit” starts the 2nd half of Birthing emphasizing a darker atmosphere compositionally talking about Michael’s life being your death while “The Merge” feels reminiscent to the handful of musical experimentations Swans has been known for since the early portion of their career trying out sound collage & harsh noise. “Rope / Away” ends with a 2-part closer making the first leg of it entirely instrumental remembering his mother, Bill Rieflin, Catherine Ceresole & Simon Henwood the other

Finishing the trilogy that leaving meaning. started & The Beggar bridged, allegedly the last album in their discography to focus on all-consuming sound worlds to take on a significantly pared down form for the foreseeable future adds to their legacy with their 3rd generational masterpiece behind Soundtracks for the Blind & To Be Kind. Michael’s production expands the experimentally droney post-rock style Swans have made a name of themselves off of & blending it with krautrock, totalism, poetry, art rock, post-punk, goth rock, noise rock, sound collage & harsh noise.

Score: 5/5

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Bruiser Wolf – “Potluck” review

This is the 3rd full-length studio album from Detroit, Michigan emcee Bruiser Wolf. A member of the Bruiser Brigade collective, his 2021 solo debut Dope Game Stupid would become an experimentally gangsta & comedic gem although the sophomore effort My Story Got Stories was more moderately received 16 months ago. “Rope Chain” last summer is already one of my favorite songs in Bruiser’s whole discography & even if it’s not on Potluck, some of the teasers from it held their own weight.

“Say No More” produced by Knxwledge was a groovy opener that sets the tone of what’s to come talking about this being the reason he’s hated & giving the audience what they’ve been waiting for whereas “Write or Wrong” turns up the funkiness thanking God for the microphone in his hand. “Air Fryer” takes a cloudier, sample-based trap approach thanks to Harry Fraud talking about using that very object to cook up dope while “Beat the Charge” brings a soulful flare to the table courtesy of Nicholas Craven likening his life to a movie.

Jake One hooks up a cloudy trap instrumental during “Lock In” so Bruiser can talk about having to focus leading into “Pee-wee Herman” featuring Chilly Gonzales bringing the 2 together over a quirkier beat flexing that both of them are always grindin’ & servin’. “Offer I Couldn’t Refuse” was a great cloudy trap single that F1LTHY of Working on Dying laced explaining that the street made him a deal so good to the point where he couldn’t turn it down prior to the soulful “Trust Issues” talking about trusting someone who eventually snitched.

“Baby You” shows off his equity & discusses a woman who desires to fuck with a real one over a bare chipmunk soul instrumental from both Harry Fraud & Danny G while “Guns & Squares” featuring Sir Michael Rocks finds the pair talking about fuckin’ with those 2 things in the past until ditching ‘em in favor of boom bap on top of prominent bass-licks. “Fancy” featuring Fat Ray crosses over synth-funk & hip hop referencing The Walt Disney Company-owned FX series Snowfall while “Whippin’” featuring Nebr, The Tiger jazzily talks about the drug game.

The song “Confusing” begins the final moments of Potluck stripping the drums once again venting over the perplexing nature of bitches that’re usually around him & lastly, “Over Looks” luxuriously finishes up the LP telling this women that she’s so much more than looks on top of pointing out the shallow nature of society these days & hoping the message he’s trying to convey doesn’t get disregarded.

Potluck exemplifies of how nobody in the game cooks like Bruiser Wolf as he invites us to a world where truth, absurdity & wisdom are doled out in even portions. Known for his signature voice along with vivid street narratives & off-kilter humor, Bruiser carves out his own space & singular voice further than before with the most expansive album in his discography taking on the sounds of drumless, jazz rap, Detroit trap & chipmunk soul telling the gangsta life.

Score: 4/5

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Daniel Son – “Baggage Claims” review

Toronto, Ontario, Canada emcee Daniel Son with his 9th proper full-length album. A member of the Brown Bag Money collective, his profile began to rapidly increase in the underground off projects like the Giallo Point-produced debut mixtape The Gunners or the Futurewave-produced sophomore album Yenaldooshi. He just teamed up with Raz Fresco this spring for the spectacular collab album Northside paying homage to the roots of the Toronto hip hop scene & a few months after reuniting with Futurewave for the first time since Son Tzu & the Wav.God on Bushman Bodega last summer & the Finn-produced Hare Brained Schemes a few months later. He & Futurewave however are looking to make some Baggage Claims almost 3 weeks after Maple Leaf Pro Wrestling founder Scott D’Amore crowned the longest reigning 2-time TNA World Champion, TNA X Division Champion, 2-time TNA World Tag Team Champion & former PWG World Tag Team Champion Josh Alexander the inaugural MLP Canadian Champion and former 2-time RPW British Women’s Champion Gisele Shaw the inaugural MLP Women’s Canadian Champion.

The title track is this grisly boom bap intro assuring shit ain’t always glamorous on his end & showing everyone the progression whereas “Sweet Peppers” soulfully wastes no time whatsoever to reach the penthouse views he desires. “French River” keeps it in the basement instrumentally venting over the visions he’s had ingrained in his mind as of late just before “Euthanize” featuring al.divino refuses to stop the bread income all because of hits getting put out.

“How It Goes” suggests over a flute-tinged boom bap beat to go the way it already is nowadays cheffing up the product & serving it leading into “1973” featuring Raspy teaming up for a lullaby dedicated to everyone laying their heads in the street. “Bleed the Shark” ruggedly explains that he can catch a rat from him being all the way in the field refining his chef skills at night, but then “The Fume” featuring Bito Slime cloudily yet rawly talks about moving in rare fashion.

Meanwhile on “Cold Chicken”, we have Daniel over a drumless instrumental talking about dying for what’s his & acknowledging the old fashioned tendencies he shares while “Need More Paper” returns to the boom bap expresses the necessity of making his bread stack up continuously higher. “Baylor” kicks the horns out trying to make it known to this girl he’s seeing that all he knows is the filth while “Fly the Pigeon” featuring King Bliss gives the finger to the entire world.

al.divino comes back for the dusty “Sun Lo” talking about never peaking & making sure their competition never eats again while “Crushed Stones” hooks up a vocal flip experiencing the same shit others warned him he’d experience in the rap game. “Sweet & Sour Duck” strips the drums learning to keep his mouth closed at an early age while “Run the Shop” featuring Recognize Ali finds the duo wanting to be loved for their ambition.

The jazzy “Pin Stripe” featuring Asun Eastwood feels reminiscent of the previous collaborative efforts Psychics of Filth & Bite the Bullet promises that everything they’re saying shouldn’t be taken in a metaphorical sense by any means while “Villains” talks about pushing coke. “Regular” concludes Baggage Claims on a rawly vintage note teasing more music with Futurewave to come since they’ve been cooking normally as of late.

Commemorating the 7-year anniversary of Pressure Cooker earlier this month, the Brown Bag Money standout & his go-to producer unearth 18 outtakes that were made during those sessions & compile them into a sequel of it’s own sounding like they recorded it recently. I can very much tell that Futurewave’s boom bap production was recorded during that era, except that & Daniel Son’s pen make an exciting throwback to their dual breakthrough.

Score: 4/5

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