RJ Payne – “Sinnerz” review

New York emcee & revered battle rapper RJ Payne formerly known as Reign Man dropping his 16th EP. Building up an extensive solo catalogue for himself with 24 mixtapes as well as well as his last dozen EPs & 4 full-length albums, Benny the Butcher even signed RJ to Black Soprano Family Records for a brief period of time & putting out some of best material like Leatherface & Square Root of a Kilo under Benny’s ever-growing indie label of his own. My Life’z a Movie produced by Stu Bangas quickly became my favorite LP in RJ’s discography & Enemy Soil Entertainment in-house producer C-Lance went on a trip with him to The Barbershop, coming off Erick Sermon producing a 3-Piece & Drega33 fully producing Triangle D’or to team up with Cartune Beatz on Sinners.

After the “Let Me In” intro, the first song “Stacks” hooks up a bare slowed down sample to refer himself as royalty in the flesh whereas “Sammy’s Guitar” takes the chipmunk soul route instrumentally hoping that everyone has accepted their fate. “Ryan Coogler” warns not to make him come to your house for cleaning only leaving nothing behind but the bill & “Land of the Sinner” soulfully talks about his heart being bigger than his patience, but then “Smoke” wraps up Sinnerz with 1 last drumless observing a glitch in the game.

Furthering the acclaim of 3-Piece & Triangle D’or, the Reign Man’s consistent 2025 run carries on with another EP that will likely go down as amongst the best RJ has ever done similarly to both predecessors I mentioned earlier. Cartune Beatz’ production here goes for a primarily drumless sound further pulling from chipmunk soul & RJ refrains from having guests once again to spit the Payne fans have come to love him for.

Score: 4/5

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Vino La Mano – “Season of Revenge” review

Corpus Christi, Texas emcee Vino La Mano finally putting out his full-length debut studio album. Catching the eye of Buffalo standout Benny the Butcher after signing to his Black Soprano Family Records imprint, he would go on to drop 18 EPs between 2019 & early 2024 with the most notable being Circle of Trust and Blood & Fire. It’s been quite some time since I’ve last covered him, although those handful of EPs have all been building up for the Season of Revenge to dawn.

The synth-boom bap intro “Stand Where I Stand” talks about going out to get it instead of waiting until something comes up whereas the gritty “Louie V’s Like Forces” promises that he can make the bricks vanish & gets into owing the game favors still. “That’s My Word” maintains a dark boom bap vibe to talk about dirty money & clean money spending the same just before “Halfway There” addresses people saying the game’s getting to him when he ain’t at that point.

“No Questions Asked” talks about being from a place where he has to keep a heater on him & people showing fake love leading into “Build Yo Team” stripping the drums finding himself in traffic when those who always doubt him pray on his downfall wanting to catch him when he’s lacking. “Outta Love” spaciously specifies that one needs stripes in order to have a conversation with him while “Speaking Off Pride” finds him talking to the listener from a place of self-esteem.

As for “Hit the Scene Trappin’”, we have Vino returning to the boom bap talking about making his dreams happen even if it wasn’t easy for him to do by any means until “Ain’t No Love” dustily homages the late DJ Shay & breaks down hate being the new love this day in age when he isn’t lying. “Nothing Lasts Forever” brings the keys back in the fold boasting that he’s the realest around, but then “Put That on My Soul” sees himself talking about never folding.

“Couple Minutes of Pain” starts the Season of Revenge’s final moments stripping the drums again to passionately get some heartbreak off his chest while “Some Things Don’t Change” talks about this being the realest song he’s ever conceived in his entire career, to which I can’t argue with. “Been a Dealer a Long Time” finally wraps up Vino’s long-awaited introductory LP by looking back on his days in the streets moving weight since he was doing that forever until his music started taking off.

Much of the potential I heard on those previous EPs (especially both of the ones that I’ve reviewed in the past) has been gradually revealing itself over the course of time & Season of Revenge raises the bar significantly on all fronts. The Soul Monsters continue to serve as his in-house production team heavily building a boom bap sound for the album & Vino’s quest for vengeance ultimately fulfills itself.

Score: 3.5/5

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Crimeapple – “Rose Gold” review

This is the 17th studio LP from New Jersey lyricist Crimeapple. Becoming a fan of his in the fall of 2017 with his 4th EP Sweet Dreams along with the Big Ghost Ltd. produced full-length debut Aguardiente that following spring, his profile in the underground grew exponentially from there. Discography standouts include the DJ Skizz-produced Wet Dirt, the DJ Muggs-produced Medallo, Cartagena, Breakfast in Hradec, Sin Cortar, the Preservation-produced El León, the official Aguardiente sequel Bazuko & the Mello Music Group-backed This, Is Not That produced by Apollo Brown. The latter 3 have all become the most I’ve enjoyed Crime’s music in a while to the point where I didn’t expect any different out of Rose Gold.

“Taste Like Butter” samples “O-o-h Child” by The Stairsteps suggesting you take a look at how he went from being broke & down to an icon within the modern underground hip hop scene whereas “Oro Rosa” strips the drums to talk about spoiling himself rotting after giving it everything when he had nothing left. “Paradigms” hooks a boom bap instrumental with some horns coming at the throats of these lame & strange muhfuckas leading into “Discounts” finding him living his best life.

Estee Nack & Eto both team up with Crime on “World Famous” bringing the trio together so they can talk about being well known all across the globe prior to the lead single “‘97 Tape Master” likening themselves to ghetto celebrities. “Easy Enough” flexes that he’s the embodiment of the term MC regardless of his eventual demise settling in on him just before the dusty “Congratulations” talks about taking his foot off the gas to take advantage.

“Paulie” begins the final leg of Rose Gold gives a middle finger to being competitive & becoming more confident in peddling death itself while “Pastor’s Whip” shows a religious side to himself & the gospel sample really couldn’t have fit the overall aesthetic any better. “Trifecta” hops over these stellar pianos to call out the individuals in his life who’re envious of his success while “Crystal City” ends with prominent synthesizers feeling like his bus riding days were yesterday.

Wet Dirt was the very 1st time that I’ve ever reviewed Crime & in light of Breakfast in Hradec celebrating it’s 3-year anniversary next month, Skizz taps back in with the east coast underground vet at this point completing a timeless trilogy by embarking on a journey built on sound matched with storytelling & consistency that those who’ve been following from the start will find themselves enjoying as much as both predecessors.

Score: 4.5/5

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Ouija Macc – “Chlorine” review

In front of us is the 7th studio LP from Las Vegas, Nevada emcee Ouija Macc. Breaking out in the fall of 2017 after the Insane Clown Posse signed him to Psychopathic Records shortly after putting out his debut EP Trashfire independently, Ouija has since proven himself as the hatchet’s biggest solo act dropping his last 6 full-lengths, 2 greatest hits compilations, 8 mixtapes & 5 EPs all in the span of nearly 8 years. He even started his own label Chapter 17 Records, with Darby O’Trill now being the only artist other than Ouija & teamed up with each other 13 months ago for the excellent collab effort Anemoia building up Darcc Planet to become the darccest material of his career last summer. 3 months after Psycho Babbel though, we entered the Temple of Ash & are now leaving so he can drop Chlorine on us in the midst of him opening during ICP’s tour set to end this weekend alongside Wakko the Kidd & tapings of the hit Juggalo Championship Wrestling (JCW) webseries JCW Lunacy. I should also mention the inaugural JCW American Champion currently in his 2nd reign Caleb Konley appearing on Dark Side of the Ring a few days ago to remember the late WWE Cruiserweight Champion Daffney, Haley J ending Dani Mo’s inaugural JCW Women’s Championship reign & former JCW World Juggalo Tag Team Champion Kerry Morton ending former The Crash Pesocompleto Campeon, NWA National Champion & TNA X Division Champion Willie Mack’s 2nd reign as JCW World Juggalo Heavyweight Champion.

“Creepy Crawler” starts off with a hellish trap intro produced by Devereaux talking about crawling up on ‘em & stacking up his commas whereas “Miyazaki” pulls from the Memphis scene taking it’s name after the revered スタジオジブリ founder 宮崎駿. “WICC17 SH17” makes a phat homage to the style of music he’s widely known for & putting a modern appeal to it for a newer generation of juggalos while the DeadBoyGrim-laced single “Lil’ Nitemare” walks down the wrong path deviated by demons.

Meanwhile on “Loonatic”, we have Ouija bringing the presence of a wicked clown right in front of you over a cloudy trap instrumental until the ghostly “Never That” talks about running with the pack to the money & never looking back. “House of 1,000 Doors” gets in his storytelling bag portraying himself as a game show host named after Rob Zombie’s classic directional debut House of 1,000 Corpses until “Mr. Fat Balls” drearily talks about being fed up with the bullshit lies.

“Klepto” breaks down his skitzophrenic tendencies on the verge of stealing shit over some pots, pans & hi-hats while the chilling “Up It Up” entertainingly throws in bar introducing a new nickname for himself blending his moniker with the name of current Monday Night RAW commentator, occasional WWE in-ring performer, ESPN’s College GameDay analyst, host of The Pat McAfee Show on ESPN & former Indianapolis Colts kicker Pat McAfee.

Moving on from there, “Toot Toot” samples “The Loons off ICP’s sophomore effort & the 2nd Joker’s Card Ringmaster going 117mph for the cash since he don’t fuck around when it comes to that while “Mean Muthafucka” shows an angrier side to Ouija warning to get out his face unless you wanna see him crash out. “Databass” vividly portrays himself as a sex offender who preys for his victims on the internet, but then “Death Trap” featuring Apoc Krysis unloads 17 from the clip.

“Unda Unda” pulls inspiration from the Memphis hip hop scene more more blending that with horrorcore & trap talking about coming from the underground since Chapter 17/Psychopathic’s whole sound has appealed to that demographic of hip hop culture birthing it’s own subculture in the process & “Would It Be Alright” finishes Chlorine with a trap metal/emo rap hybrid asking if it’s ok if he dies here tonight.

Ouija’s been calling this the best thing he’s ever made for the past month now & I can’t really argue with it because of the the whole concept revolving around him always being a scrub no matter how clean. Devereaux handles most of the production showing influences of trap, horrorcore, cloud rap, trap metal, emo rap & Memphis hip hop backing the C17 CEO’s call for a juggalo takeover.

Score: 4.5/5

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The Musalini – “Live & Let Die” review

California producer DJ Fresh teaming with New York emcee & Jamla Records recording artist The Musalinifor the latter’s 10th studio LP. Beginning to take the underground by storm since 2018 after dropping his debut mixtape Musalini Season, he went on to release 3 full-lengths & another tape before signing to TCF Music Group. Since then, he’s made himself home by dropping a few EPs & Return of the Oro in the early part of this decade. In God We Trust produced by 38 Spesh, The Don & Eye alongside its sequel fully produced 9th Wonder & Pure Izm produced by Khrysis have all quickly become his best material over the past 3 years. Mackaroni produced by Cookin’ Soul became my favorite of the 4 projects Mu$ put out last year & The Pierre Hotel was overloaded with features although the production was outstanding. Fast forward a few months, Live & Let Die is in front of us.

“Late Nite” works in some pianos only to break the door down with a cloudy boom bap instrumental telling his babygirl to live it up whereas “Moneyyyyyy” describes the affection he has for his ride or die. “Speeding” breaks down the explanation of him having more time than he does patience until “Player’s Ball” featuring Planet Asia & Silent Snipers finds the trio portraying themselves as pimps taking a funkier approach to the beat.

Izzy Hott joins Mu$ for “Double Life” advises everyone to know what you’re getting themselves into before they wind up getting themselves into it sampling soul music leading into “Good Game” going for a trap approach to talk about him giving her D is all he does. “Polo Scarf” brings a jazzy boom bap flare to the table always keeping it real & knowing what the agenda is, but then the soulful “Old Soul” talking about time costing money.

The title track featuring O Finess unites the 2 continuing the funkier vibes instrumentally reminding everyone of the way they be living while “Red Eye” calmingly talks about falling asleep on the plane that he boarded in his home state & woke up right when they landed over in the west coast. “Fly Zone” featuring John Dutch sees the pair calling themselves the flyest muhfuckas in the world & “Can’t Buy Love” featuring Silent Snipers ends by talking about not taking life for granted.

Taking a west coast producer & an east coast lyricist, Live & Let Die makes up for the disappointment I had towards The Pierre Hotel with a 33 & a half minute body of work that I think is Mu$’ most enjoyable since Mackaroni almost 14 months ago. He & DJ Fresh are basically paying homage to Kool G Rap & DJ Polo’s 3rd & final album Live & Let Die where both regions take everything distinct of what makes their scenes special & flowing into each other seamlessly.

Score: 3.5/5

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G-Eazy – “Helium” review

Oakland, California rapper, singer/songwriter, producer & actor G-Eazy making up for the delays of his 8th studio LP. Breaking out into the mainstream with his 3rd album These Things Happen in 2014, this was followed up a year later with When It’s Dark Outas well as The Beautiful & Damned back in 2017. Scary Nights was a subpar prelude to These Things Happen Too, Everything’s Strange Here easily stands as his embarrassing body of work yet & the These Things Happen sequel was only better by a small margin. Freak Show was one of the worst albums of 2024 & is putting out Helium only 11 months later.

“GRWM” was a mediocre trap intro talking about hoes calling him & asking them to pay him whereas “Kiss the Sky” gives boom bap a shot only for him to miss with a weak homage to the iconic Jimi Hendrix cut “Purple Haze”. The title track gets into his signature pop rap style pleading for this woman’s love leading into the underwhelming boom bap/rap rock crossover “Outside” featuring Diany Dior staying out for the summer.

Finishing the first half, “Dream About Me” tells his ex not to even think of him in her dreams over a generic trap instrumental just before “Fight & Fuck” gets back on the pop rap vibe once again describing a toxic relationship where he & his partner argue only to make lover afterwards. “Nada” wound up being a close contender for one of the worst singles to come out in 2024 partying when he wants, but then “After Dark” expresses his desire to be understood.

“How Can You Sleep?” gets it going on the final minutes of Helium with an acoustic pop rap cut finding G-Eazy admitting that he can’t move on from this woman that he said he would try to leave in the past & I found the lead single “Vampires” to be a tiring closer addressing toxic relationships once again although I don’t really mind the moodier sound all that much nor did I have any issue with the Bahari hook/bridge.

Conceptually built around the highs & lows of love & life, the sliver of optimism I had regarding this one wasn’t really done any justice even if it was released the day prior of G-Eazy’s birthday & the birthday of his brother he was closer than close too. The boom bap portions are actually average at best & the idea of parties never lasting forever being worth it in the end is a valid life lesson, except neither the trap or the pop rap cuts don’t really scratch the itch.

Score: 1.5/5

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Stereolab – “Instant Holograms on Metal Film” review

Stereolab are an Anglo-French avant-pop band from London, England, United Kingdom consisting of bassist Xavier Muñoz Guimera, keyboardist/vibraphonist Joe Watson, drummer Andy Ramsay, guitarist/keyboardist Tim Gane & frontwoman Lætitia Sadier. The latter’s appearance on “Campfire” off Tyler, The Creator’s sophomore effort Wolf becoming my introduction to her during my sophomore year of high school & the “Ping Pong” video. Transient Random-Noise Bursts With Announcements, Mars Audiac Quintet, Emperor Tomato Ketchup, Dots & Loops, Cobra & Phases Group Play Voltage in the Milky Night, Sound-Dust, Margerine Eclipse and Chemical Chords all stood out for their own reasons once I took a deep dive in the band’s discography although it was 3 years after their hiatus. It’s already been 15 long years since the Chemical Chords collection of outtakes Not Music saw the light of day, signing a new distribution deal with Warp Records for the Duuphonic Records founders’ 11th full-length album.

The lead single “Aerial Troubles” after the “Mystical Plosives” instrumental intro blends indie pop, neo-psychedelia, krautrock, chamber pop, indietronica, psychedelic pop & ambient pop singing about us unable to eat & drink our pain away whereas “Melodie’s a Wound” works in elements of neo-psychedelia, indie rock, ambient pop, space age pop, indietronica, space rock revival, post-rock & neo-acoustic setting manipulation as the goal.

“Immortal Hands” shows off a lounge influence during the first half until the other hooks up drum-machine alongside some dizzying brass & flutes colliding with each other leading into the cheerful “Vermona F Transistor” sings about being the creator of this reality instead of the deceiver who feigns for Lætitia’s love. “Le Coeur Et La Force” puts the band’s French on display lyrically discussing an eternal keystone being lent to them with the same heart of the same strength until “Electrifying Teenybop!” serves as another jam session.

Neo-psychedelia, ambient pop, indie pop, indie rock, indietronica, exotica, lounge & space rock revival all get balled up onto “Transmuted Matter” asking what you see through the eye of the heart while “Esemplastic Creeping Eruption” sings about abiding into the light portal when becomes dark. “If You Remember I Forgot How to Dream” takes a groovier approach condemning the idea of war since she belongs to Earth, but then “Flashes from Everywhere” sings about being learned from instead of being believed.

“Colour Television” gets the backend of Instant Holograms on Metal Film rolling by psychedelically telling a single story being violently imposed as a universal narrative of progress, development & civilization while “If You Remember I Forgot How to Dream 2” rounds out the groop’s comeback effort that many including myself have waited over a decade for with a defiantly singing about exploring without fear & providing contrasts to the predecessor.

Eager to make up for lost time, Stereolab finds themselves in perfect working order gloriously overstuffing songs that key in on familiar pleasure points while introducing all manner of shapeshifting surprises. Their production takes it’s cues from neo-psychedelia, indie pop, indie rock, post-rock, ambient pop, indietronica, krautrock, lounge, chamber pop, psychedelic pop, indie surf, space rock revival & easy listening to promise utopia is still in our grasps.

Score: 4.5/5

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Farma G – “Burn It Down” review

Here is a solo extended play of material from London, England, United Kingdom emcee/producer Farma G. A member of the Mud Family collective & 1/2 of the Task Force alongside his brother Chester P, he would go on to produce for several big names within the underground from Rome Streetz to Vinnie Paz & the latter’s Heavy Metal Kings cohort Ill Bill. Signing to High Focus Records a couple years ago, How to Kill a Butterfly was a solid beginning of this new chapter in his career has enlisted Brighton, East Sussex producer Relense to help him Burn It Down.

After the intro, the title track begins with this fierce boom bap intro making a rebellious statement about the government whereas “What’s the News?” discusses the time to hit the streets & let these muhfuckas know not to bribe them being now. The final song preceding the outro militantly finishes Burn It Down asking all sorts of “Questions” over an orchestrally-driven boom bap instrumental & a great deal of them being consciously charged.

It’s not even 10 minutes long, but Burn It Down was inspired by the clear frustration & sadness Farma G has been building up inside of him because of all these global conflicts occurring & drifts away from extending beyond his Task Force/Mud Family output much like what How to Kill a Butterfly did for the most politically charged statement of his solo discography thus far ahead of Relense running it back with Farma on the latter’s sophomore effort Nearly Nothing’s Enough under High Focus next spring.

Score: 4/5

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Big Bye – “Paper Plates” review

This is the 2nd mixtape from Michigan rapper Big Bye. Originally known as byetimo, he released his first couple EPs Bye & Big Bye in the late 2010s/early 2020s until changing his moniker after the Bye’s successor at some point between 2022 & 2023. Coming off his debut tape The Big Lebyeski couple months ago, Detroit music executive Lando Bando has officially signed Timo to his own imprint The Hip Hop Lab Records & is letting him make his debut for the label with Paper Plates.

The title track is a creatively soulful jazz rap/Detroit trap hybrid talking about having bitches everywhere that only know him by his looks & only asking for grace whereas “Sparkle” boasts of him breaking weed down to particles as well his chain glistening. “Ballin’ Hard” featuring BandGang Javar finds the 2 talking about the za being so good that it’s like they’re smoking cigars while “No Tattoos” finds himself deciding not to get freshened up for the day.

“Waterboy” works in some pianos & 808s to suggest one should come to his suburbs if you wanna get a cup of lean while “Fat Packets” featuring Babytron cloudy trades the mic back-&-forth with each other for a couple minutes. “Big Yuck” featuring BYEVIXEN finds the 2 over a Jakesand instrumental talking about having gold in their teeth like popcorn kernels just before “Girl Next Door” works in some shimmering pianos from Danny G selling sunshine & happiness.

As for “Dick Dastardly”, we have Big Bye referencing the titular antagonist of the Warner Bros.-owned Wacky Races franchise over a sample & 808s meshing with one another leading into “Payday” featuring Certified Trapper dabbling with lowend a bit talking about lining their opps out in chalk as well as receiving the wages they’re owed within 24 hours & a reference to one of my favorite WRs of all-time Randy Moss.

“My 1st Rodeo” starts the final leg of Paper Plates with a bell-inflicted beat responding to weirdos calling him a rookie who won’t amount up to anything solely because they’ve done more than him musically while “Counting on Us” talks about going from rags to riches. “Rainman” wraps up the mixtape with Bye riding in the same Buick convertible as depicted in the 1988 road comedy-drama of the same name.

Straying further away from the pop rap influences of his earlier output, Big Bye’s inaugural release under The Hip Hop Lab Records further capitalizes on the Detroit sound of The Big Lebyeski only 9 weeks after it’s predecessor & cements Timo as a welcoming addition to Lando’s roster. 75% of the features are underwhelming, but Bye’s growth both artistically & personally within nearly a decade remains easy to hear.

Score: 3.5/5

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southsidesilhouette – “Dream But Don’t Sleep” review

Atlanta, Georgia recording artist southsidesilhouette delivering his 1st offering of 2025 in the form of his 8th EP. Emerging in the SoundCloud scene of his debut EP Metanoia & later the full-length studio LP Diafora, he continued to build his discography from there whether it be ( ︶︿︶)_╭∩╮ & ♃ or the original Hits followed by the sequel & 2009. The final chapter in the Hits trilogy came out 14 months ago & has returned so he can tell everyone to Dream But Don’t Sleep.

“Pain.” works in some synthesizers & heavy bass to open the EP talking about taking his time of the essence staying ready to in whereas “So Back” turns the rage up boasting that he’s a young prodigy that you might probably catch on the east side. “Haunted House” talks about turning up & having to learn from all the Ls he had to take finally getting his hands on the ball again while “Marching with the Bands” assures he’s living a wonderful life now & shows off his 1 of a kind status.

Finishing the first half of the EP, we have southsidesilhouette getting turnt to the max on “I Been” cautioning about betraying him possibly becoming the biggest mistake of your life just before “World Gone Hate” keeps the hypertrap vibes going telling his girl he can’t get sick of her face. “In My Hands” produced by n9ck talks about the increase of problems as a result of becoming richer leading into “Forever” abrasively suggesting he got the loose screws in his head from his mother.

“Sayonara” steps it up with his flow boasting that he stays making hits on the phone in addition to leaving you where you stand because of him never saying goodbyes & keeping a heater on him putting a cloudy spin on the rage sound, but the lead single “Tattoos” finishes the EP by throwing it back to his earlier material talking about thuggin’ in the street the second he wakes up on top of telling his listeners you can do it too as long as you find it.

Got to catch this guy perform a headlining set in New York with UnreleasedSnip back in November 2022 & that being my introduction to him, it wasn’t hard for me to see what made him so appealing in the underground realm of trap music hearing him do songs like “Untouchable” in person. Finally getting the chance to cover his music 30 months later, there’s no denying he’s grown since that show. Internet Money Records & Vanguard Music Group usually bring in the best outta him production-wise, although Chxncex holds his own weight & southsidesilhouette flows over his sound well enough.

Score: 3.5/5

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