Paris Texas – “They Left Me with the Sword” review

Paris Texas is an experimental hip hop duo from Compton, California consisting of Louie Pastel & Felix. These guys started to become popular several years ago after their first few EPs I’ll Get My Revenge in Hell alongside Boy Anonymous & Red Hand Akimbo. Their debut album Mid Air garnered co-signs from Ye formerly known as Kanye West & Tyler, The Creator with the latter having them open on his ongoing Chromakopia Tour. Looking to capitalize on the tour, the duo’s dropping off their 4th EP.

After the “Sword” intro, the first song “Dogma 25” is this synth-trap opener ripping off the tops as it they’re the Fairly OddParents character Juandicimo Magnifico whereas “Red Eyes & Blue Hearts” works in a guitar to talk about the journey only beginning & not thinking right. “Tantrum” brings a rattling trap flare to the table responding to those who got them pissed off & after the Boyz II Men interlude, “Holy Spinal Fluid” produced by Kenny Beats vibrantly finds them looking to ante up.

“infinyte” was a great single fusing rap rock, west coast hip hop, spoken word, breakbeat & post-punk promising that shit won’t ever stop while “El Camino” hooks up a prominent bass-line laughing off all the dipshits who thought they wouldn’t make it to the position they’re currently in at this point in their careers applying heavy auto-tune on the hook charmingly breaking down the generational hunger burning within them.

Really ever since I’ll Get My Revenge in Hell almost 7 years ago, Paris Texas have earned comparisons to alternative rap groups like the recently disbanded Death Grips & clipping. who I’ve covered previously resulting in They Left Me with the Sword suggesting that they’re equally inspired by The Cool Kids when you really think about them channeling their retro-futuristic minimalism on a few cuts venturing further out of the rap rock/experimental hip hop realm that made a name for themselves.

Score: 4/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

Dave East & Ransom – “The Final Call” review

Harlem, New York emcee Dave East joining Jersey City wordsmith Ransom for a whole new collaborative studio LP. Both of these guys have worked with each other a handful of times in the past off songs like “Everything for Sale” or even “Rolling 50 Deep” & “Rolling 110 Deep” prior to the late DJ Kay Slay’s passing, so they’ve decided to link up & take their chemistry to the next level by supplying The Final Call to anyone who considers themselves a fan of either of them including myself.

“Audubon Ballroom” produced by MadeinTYO is this drumless opener giving y’all more than enough of themselves over a bare soul sample whereas the title track featuring Jay Electronica finds the trio talking about lighting up everything they touch. “Soul Food in Mecca” works in a gospel flip discussing that a winner is simply a loser who tries just before “By Any Means Necessary” featuring Method Man soulfully talks about the sad waiting for you to pass to say you’re dead nice.

22Gz joins Dave & Ransom for “Mayhem” tryna give something they can feel with the help of V Don behind the boards leading into “Al Kabir Beach” remembering the days when they were tryna make a way & now getting deposits made in their bank accounts on the daily. “The Mosque” talks about praying on the daily sampling soul music once more, but then “Blood & Water” pivots right between in response to people making it an effort to pigeonhole them.

“Exotic Prayer Rugs” featuring Jadin Alexander strips the drums to start the encore of The Final Call continuing to follow the doctrine because of the melodic ways to pray for days when they were unresponsive & “Fairwells” serves as this incredibly passionate closer to the album by letting shots ring out as a solution to handling each & every single one of the drama that people try to push their way.

Granted I think Chaos is My Ladder 2 was a little better as a collab effort, The Final Call is still pretty enjoyable for a good portion of it’s run. V Don’s production on Ransom’s joint effort with Conway the Machine is more consistent on 1 hand & on the other, both MCs match each other’s intensity with most of the guests’ own unique flavor gelling in impressively.

Score: 3.5/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

Elcamino – “Martyr’s Prayer III” review

Here we have the 19th EP from Buffalo emcee & singer Elcamino. Blowing up in 2017 off his self-titled EP with Griselda Records, his profile increasingly grew after being followed up by Walking on Water mixtape in the summer of 2018 along with dropped 2 studio albums & a few EPs the year after that. They Spit on Jesus proved to be a well received Black Soprano Family Records debut becoming the first Camino project that I had covered since On the 3rd Day & that much like No Weapon Formed Against Me was an improvement over some of the material we’ve gotten from him in recent memory. 6 months after having Real Bad Man produce The Game is the Game followed by Ill Tone recently producing Built for Cuban Links named after Raekwon’s iconic solo debut Only Built 4 Cuban Linx… produced by RZA in addition to flexing his Millionaire status & Full Moon showing a heavy Future influence. 2 months later, he & 38 Spesh are back for Martyr’s Prayer III.

“Last Prayer” aggressively starts the Martyr’s Prayer trilogy chapter talking about everyone knowing the deal with him richer than a muhfucka whereas “Hustler Highway” reflects on being stuck in the streets all night as a way of getting by. “Animal Life” keeps it boom bap instrumentally to talk about rightfully earning his stripes staying on the grind his whole life while the drumless “Once in a While” seeing bitches acting like they know him & dudes acting like they homies.

Moving on from there, “Offend You” looks back on when he used to take the bus to get around town & now taking the Benz while “Mossberg Pump” aggressively talks about keeping the shotty on him standing on top of the hill staying in the hood. “Mobile Phone” featuring Benny the Butcher discusses making money feeling right to him while “JPay” talks about meeting him on the block with the AK over horns. “Shirley” soulfully shows off the long-ass sticks they carry & the closer “Babygirl” shows a romantic side to him.

Full Moon was easily the most daring EP that Elcamino has ever made & I appreciate him for taking the risks he did for it even though the music wasn’t for me personally, but Martyr’s Prayer III completes one of my favorite trilogies in his whole catalog with an entry that embodies everything that made it so memorable whether it be 38 Spesh’s consistent production reverting back to his signature sound as opposed to Full Moon’s trap-heavy direction & Camino himself giving better performances.

Score: 4.5/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

Youth Lagoon – “Rarely Do I Dream” review

Youth Lagoon is the pseudonym of Boise, Idaho dream pop musician Trevor Powers. He debuted in 2011 off The Year of Hibernation under Fat Possum Records & has since put out Wondrous Bughouse, Savage Hills Ballroom, Capricorn albeit under his own name & Heaven’s a Junkyard through the label aside from Mulberry Violence being released independently. 2 years after what’s considered to be his best work since the debut, Trevor’s looking to level up on his 7th LP.

“Neighborhood Scene” ponders if he even belongs in a country house to get us started whereas “Speed Freak” works in elements from alternative dance, synthpop & new rave music singing about his problems disappearing through every mountain he can steer. “Football” fuses indie pop, soft rock, neo-psychedelia, psychedelic pop & dream pop observing Mary’s faith wearin’ thin like an old shoe sole while “Gumshoe” blends indie rock & baggy to sing that the summer taught him life is a baseball bat to the jaw.

Moving forward with “Seersucker”, we have Trevor letting everyone out there know he’s doing alright leading into “Lucy Takes a Picture” bringing indie pop, chamber pop & neo-psychedelia singing about walking the cold night Earth & catching a breeze. “Perfect World” suggests to ignore the call since the roulette ball was out of grace just before the indie/chamber pop hybrid “My Beautiful Girl” serves as an ode to the woman in his life.

“Canary” truly sets off the encore of Rarely Do I Dream by offering a blissfully calming atmosphere to the table instrumentally with his friends living in his head these days while “Parking Lot” sings about letting him cruise for the spot rather than letting him lose. “Saturday Cowboy Manitee” prior to the “Home Movies (1989-1993)” outro finishes the album refusing to fake his love.

Maybe the most comprehensive & audacious album that Trevor has crafted to date, Rather Do I Dream primarily composes itself as a treasure trove of home movies, twangy fuzz guitars, sun-bleached synths, classical pianos, blown-out drums & his spellbinding melodies feeling like an old photograph that’s been reanimated in a strange & distant future showing influences of indie pop, dream pop, bedroom pop, alternative dance, synthpop, new rave, soft rock, neo-psychedelia, psychedelic pop, indie rock, baggy & chamber pop.

Score: 4.5/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

Killswitch Engage – “This Consequence” review

Killswitch Engage are a metalcore band consisting of bassist Mike D’Antonio, lead guitarist Adam Dutkiewicz, rhythm guitarist Joel Stroetzel, drummer Justin Foley & frontman Jesse Leach. A dominant force in the subgenre spanning 25 years off their eponymous debut, Alive or Just Breathing, The End of Heartache, As Daylight Dies which was my favorite of the Howard Jones era, their 2nd eponymous album produced by Brendan O’Brien, Disarm the Desccent, Incarnate & more recently their Metal Blade Records debut Atonement. The band who wrote “This Fire Burns” for Monday Night RAW superstar, former 6-time WWE world champion, WWE Intercontinental Champion, WWE tag team champion, 2-time AEW World Champion, inaugural ROH Hall of Fame inductee, ROH World Champion & 2-time ROH World Tag Team Champion CM Punk who later albeit unsuccessfully competed in the UFC division of the Endeavor-owned TKO Group Holdings took 6 years off & are finally returning for their 9th studio LP.

“Abandon Us” sets the tone with this melodic metalcore intro airing out every single last person who turned their backs on them whereas “Discordant Nation” infuses more elements of melodic death metal into their sound so they can create a more metallic & melodic style of the metal/hardcore punk hybrid subgenre they’re known for suggesting to yield & bend a knee. “Aftermath” promises to give Jesse’s life to save this individual although it’s too late while the single “Forever Aligned” sings about connection & the spiritual energy that bonds us as humans.

Meanwhile on “I Believe”, we have Killswitch Engage mixing alt-metal influences with melodic metalcore confident of not being led astray & brighter days ahead just before “Where It Dies” singing about it being too late for one’s repentance & suffering Jesse’s vengeance because of it. “Collusion” observes the whole world being a conspiracy these days leading into “The Fall of Us” singing about bitterness overtaking an individual they knew. “Broken Glass” tells those who speaks in shards of shattered glass that they’ll suffer the consequences & “Requiem” ends by promising this isn’t the end.

Instead of making something contrasting from anything the band has previously done, This Consequence encapsulates of the things that fans have come to love from Killswitch Engage throwing it back to the Alive of Just Breathing era albeit making it feel modern. The energy is noticeably different from any of their recent material & they prominently address the topic of societal division in light of Donald Trump’s 2nd presidential inauguration last month cautioning the repercussions of our actions will come back to bite us in the ass in due time.

Score: 3.5/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

Smif-n-Wessun – “Infinity” review

Brooklyn, New York duo Smif-n-Wessun consisting of Tek & Steele of the Boot Camp Clik returning with Jamla Records’ in-house production team The Soul Council for their 8th studio LP. Their 1995 debut Dah Shinin’ is widely regarded as an East Coast classic & the Pete Rock produced Monumental, I enjoy almost as much. The All maintain the high quality consistency of Monumental by teaming with The Soul Council for the first time, looking to do it again 6 years later on Infinity.

The title track produced by Khrysis begins The All sequel by promising that they’ll be here for eternity whereas “Moses Promise” takes the soulful boom bap route instrumentally needing the whole team to be straight in order to catch wins. “Namaste” romantically tells their partners they ain’t in a rush tonight with the help of Ka$h behind the boards leading into “Medina” featuring Pharoahe Monch bringing it hardcore over a vocal sample from Sndtrak.

“Black Eminence” featuring the late Prodigy exuberantly turns it up after being asked to tone it down some while “Chuuch” works in a gospel flip talking about keeping it rolling whether it be better or worse. “Beautiful Trip” keeps the sampling chops going flexing that the reach they have has been global for 3 decades, but then “Enjoy Ya Life” brings these pianos in the fold courtesy of 9th Wonder talking about making the best of the short time we have here on Earth.

As for “Shine”, we have Tek & Steele heading for a groovier approach explaining that they value those they battle for while “Just Stay!” featuring Conway the Machine hops over this crooning vocal sample to talk about running through whole entire squads. “On My Soul” featuring Buckshot finds the trio tackling the theme of loyalty & camaraderie while “Heard About Me” featuring the late Sean Price soulfully asks if you heard everything said regarding them lately.

“Elephant in the Room” hits the final moments of Infinity with the 2nd & final single talking about never being traitors because they find those type of people to be worse than bitches & the Nottz-laced closer “Bad Guy” rounds it all out by making everyone listening choose between whether they want to hear the ugly truth or a pretty lie being told to them when most would rather pick the pretty lies since honesty hurts sometimes.

Several years after The Soul Council first got with Smif-n-Wessun, the Jamla in-house production team ensures that Infinity didn’t sound dated it all by giving the duo the classic sound they’re known for & making it feel new in the process. They reflect of their life experiences after all these decades refusing to curve to conformity & staying true to their roots with a great list of guests in addition to the stellar production.

Score: 4.5/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

Paradime – “L” review

This is the 2nd EP from Detroit emcee, producer, DJ & hype man Paradime. Discovered by WWE Hall of Famer Kid Rock in 1996 signing to Bobby’s very own Top Dog Records, he eventually made his full-length debut few years later with Paragraphs & the sophomore effort Vices in the fall of 2001 would go on to become his most celebrated body of work yet. Following 11 Steps Down & Spill at Will however, Dime returned by signing to Mello Music Group for his acclaimed 5th album Period. & is back again a year & a half later on L.

After the intro, the first song “Come Back” produced by Middle Finger Music in-house producer Blizzard jumps over this boom bap instrumental returning after he keeps leaving whereas “Whadda Life” soulfully looks back on the 5 decades of life he’s experienced. “So Long” chops up a soul sample thanks to Alpha Howse signee Astray paining him he never got to say goodbye to those who can’t be with us today while “The Sound of Music” enlists Cadillac Dale on the mic with him & Charlie Beans behind the boards to show y’all where the truth lives. “Old” ruggedly claps back at him being too old for this rap shit & “Deja Vu” has a reoccurring dream dabbling with trap.

Celebrating his 50th birthday back in November, the Detroit veteran comes off the most mature LP of his discography introducing himself as part of the Mello Music Group roster continuing to give us the grown man lyricism that was so prominent throughout Period. & getting even more personal than he did over a year ago already, except this time he reflects on his life experiences in the past 5 decades & further succeeding in his comeback mission as amongst the most underrated in the Motor City hip hop scene.

Score: 4/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

Klokwerk E – “Anubis” review

Klokwerk E are a horrorcore duo from Columbus, Ohio consisting of Billy D & Kyle Kombs. Introducing themselves a couple years ago off their debut EP Will Boof 4 Rent & later the full-length debut The Emerald Tablets, these guys would form the Mighty Morphin’ Wackness supergroup with the Super Famous Fun Time Guys last summer & put out the Santa Claus Fukked My Dog EP in the midst of last Black Friday weekend. Few months later, their sophomore effort is finally in front of us.

The title tracks properly introduces juggalos to the dog of death over this dark trap instrumental whereas the grungy boom bap crossover “Walk with the Dead” talks about putting people to sleep in their new beds that happen to be coffins. “Put a Spell on You” homages the late Screamin’ Jay Hawkins to discuss every single one of us being in Hell when you think of it while “Suicidal Fun” talks about the concept of depression.

“Intergalactic Radio 2” is basically them jackin’ for beats similarly to what they did on it’s predecessor while the groovily slow “You Got a Nice Ass” talks about the love they have for cake. “Catfish” featuring S.O.N. shows the trio’s storytelling abilities discussing the possible outcomes of online dating leading into “Temu Sex Toy” displays a comedically vulgar side to Billy & Kyle.

Brandon Buckingham joins Klokwerk E for the trap-driven “Dirty Dirt Bag” to talk about all 3 of them being scrubs are just before “10 Plagues” brings an occult atmosphere to the beat so they kick the wicked shit. After the “Chewing” interlude, “Night of the Living Meth Heads” gives their flowers to the seminal political hip hop outfit Public Enemy while “Everything’s Dead” talks about waking up surrounded by death itself.

“Help Me Hide the Body” conceptually feels reminiscent to the iconic Necro track “Dead Body Disposal” except they borrow it & put their own unique take on it while the final song “Take What’s Mine” ahead of the “Dog” outro finishes up Anubis with what easily sticks out as the most controversial track on the entire thing with it’s lyrical content of runnin’ with an axe in their hands on the east side & keepin’ at least 5 bitches in the back of my van only for them to meet a brutally unspeakable demise.

Significantly darker than The Emerald Tablets was, Anubis embarks on a descent into ancient Egypt’s darkest corners fusing a batch of sinister beats along with a twisted blend of horror & humor to guide you through tombs where the dead don’t rest & the dog of death itself eagerly waiting to judge your soul. It’s kinda like the scene in Scream where 1 guy gets hit with the TV in the sense of it being the musical equivalent to certain parts in horror films that makes you laugh.

Score: 3.5/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

Eem Triplin’ – “Melody of a Memory” review

Eem Triplin’ is a 23 year old recording artist & producer from Johnstown, Pennsylvania beginning his music career over a decade ago as a result of his older brother introducing him to the FL Studio program. His first 3 EPs N0WH3R3 as well as No More Tears & Still Pretty caught the attention of RCA Records, signing him after appearing on the deluxe version of Camila Cabello’s most recent album C,XOXO for a full-length debut studio album showing everyone what he’s capable of doing.

“Came In It” produced by DJ Dahi is this cloudy intro talking about pulling up to the spot with the gang & all guns blazing whereas “If We’re Being Honest” works in some prominent synthesizers to admits to wanting his romantic interest to want him back refusing to trick in the current economic climate. “Fiji” featuring Cruza finds the pair drinking Hennessy as if it’s the titular brand of water crossing over alternative R&B, plugg & pop rap leading into “23” showing off the player in him even if he’s in his early 20s.

Meanwhile on “Duya”, we have Eem rapping over this delicate pop rap instrumental asking if this woman wants to love him or not homaging “ELEMENT.” by Kendrick Lamar during the outro just before “Out Miami” featuring Ty$ sees the 2 talking about being unable to keep up with their partners who’re out in Florida enjoying it there. “IYKTYK” tells his ex that he ain’t mad for her cancelling her subscription while “Feyoncé” talks about wanting to pull a woman as bad as Beyoncé of The Carters.

“Miss Me?” mixes pop rap as well as alternative R&B & plugg wanting to know if anyone still cares for him in the midst of his career taking off, but then “Crazy Hoes” talks about a hoe stalkin’ him following an on-&-off relationship. “Tall Tales” serves as a 2-parter asking his main chick if she would ride or die for him while “On & On” talks about this woman refusing to admit her needing him. “Kingdom of Hearts” finishes with an R&B joint singing that he wants to keep his woman as if she’s a secret.

The Pennsylvania recording artist’s major label debut reveals parts of himself that he’s never shared before & furthermore reveals a side of his sound that he hasn’t shown folks yet. Showing his evolution as an artist, he steers away from the sample drill undertones of Still Pretty in favor of DJ Dahi giving him an east coast pop rap/trap flare with additional elements of alternative R&B & plugg.

Score: 3.5/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

Brigid Bites – “Hot Honey” review

Here is the 3rd EP from Davenport, Iowa rapper & dancer Brigid Bites. Creating the juggalette burlesque troupe in 2017 called Juggalesque, they’ve have since become a drawing attraction at the Gathering since then with her eventually joining Chapter 17 Records CEO/Psychopathic Records recording artist Ouija Macc on stage quite a few times since. However, she made a pretty solid introduction into the music world with Hatchet Girl & Pumpkin Spice respectively. Coinciding with Juggalo Weekend wrapping up, she’s returning by serving Hot Honey almost 2 years since Hatchet Girl.

The title track made for a hip house intro talking about having what you need & others not handling her spicy heat whereas the rage-inducing “Reap Wut U Sow” featuring Kasuke finds the pair reminding us of karma’s legitimacy. “My Money” expresses the love she has for her bread & the affection money has for her while “Loved 2 Death” somberly tells her younger self she’ll fly one day. “Beat ‘Em” finally ends with a sample of the Riddle Box intro tackling the idiom “if you can’t beat ’em, join ’em”.

Those wanting to get into Brigid Bites’ music are gonna wanna listen to Hatchet Girl & Pumpkin Spice since I still feel like both of them musically present her to us in peak form but nevertheless, it’s still exciting to hear the Daughter of the Wicked Shit coming back with a body of work after doing a couple guest appearances & releasing a single or 2 only a year earlier. Production-wise, the trap/electronic sounds of Hot Honey’s predecessors are being recaptured & she’s hooking the underground up with the flavor they need.

Score: 3.5/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!