MJPaid – “Paid Ponzi” review

Michigan rapper MJPaid dropping off a sophomore effort. Coming up off the 6 Mile Trend$etter EP along with it’s sequel & the debut album 6 Mile Mi$fit respectively, Detroit trap group the ShittyBoyz would make him a member of their Dog $hit Militia collective signed to Lando Bando’s own The Hip Hop Lab Records dropping the Made & $tyle collab project with Fordio celebrating it’s 1-year anniversary last week. Coinciding with a deluxe version of that tape in the near-distant future, Paid Ponzi coming out made for an exciting prelude with 1 of the 2 performers handling the mic by himself.

“Ian Feelin’ That” pops it all off with a Detroit trap intro expressing his desire for $1B like he’s JAY-Z & shit not being hard to get if you put your mind to it whereas “Flavors” talks bitches chasing him & him chasing the money. “Dave Blunts” likens his pockets to the morbid obesity of a collaborator on Tronicles almost 3 months ago that I’m not too much of a fan of leading into “On Bro” featuring Babyfxce E exchanging brief verses with one another.

The vibraphones & pianos on “I Got It!” are peppily pleasant to the ear shrugging off any help some thinks he may need since he has it all taken care of while “6 Times” featuring Certified Trapper finds the pair asking how you a scammer when you ain’t even seen $10. “My Story” chops up a vocal sample for MJ to give everybody some backstory regarding himself just before “Elon Musk” feels like bad timing in light of the Tesla CEO, Twitter owner, SpaceX founder & Neuralink founder’s recent sieg hail.

“Y.N.W. (Young N Wild)” featuring DaBoii brings the pair together so they explain what kind of individuals they are while “3 Peat?” talks about everyone asking him for a handout being hoes. “Dracula” gives off a cloudier approach to the beat wanting red as if he’s a vampire while “OT7” talks about being out here with 7 hoes like he’s Quanny when I’d personally prefer him more than Quanny.

Babytron joins MJ on “It Depends” doing the back-&-forth execution of the verses better than the “On Me” single while “Don’t @ Me” produced by Danny G & Jakesand talks about mastering the art of cracking backs & going ghost when you need people the most. “Home Team” featuring Fordio recaptures the energy of that Made & $tyle tape we got 53 weeks earlier while “Dr. Doom” references the Fantastic 4 antagonist in light of his brief First Steps appearance.

“MJPaid Type Beat” pushes the 2nd leg of Paid Ponzi even further talking about trying to get his homies rich while “Scuba Dive” blends jazz & Detroit trap in a unique fashion talking about what he does every time a wave comes in his direction. “Bandz = Band-Aids” swaps out the jazz influences in favor in Mobb feelin’ like shit gonna be stayin’ the same while “Cold Summer” talks about how shit gonna be several months from now.

The song “What I Say?” speaks of having shit on his chest that ain’t gonna come out refusing make cheap convos with anyone broke while “Dog $hit” represents his team & talks about getting married to the money with Ben Frank becoming his best man. “Shhh” closes the album incorporating a chipmunk soul flip addressing the individuals who have no dedication wanting the lifestyle he’s experiencing.

Nearly 4 years since the 6 Mile Trend$etter properly introduced him within the Detroit trap realm, MJPaid makes his solo debut as part of the Dog $hit Militia once that pushes himself compared to his previous material & has me keeping my fingers crossed of the other members showing us what they’re capable of doing by themselves in the coming months. Even with 6 Mile Mi$fit having a stronger guest-list, the production is a big improvement from that earlier output & MJ channeling the energy of my 2nd favorite basketball player Kobe Bryant.

Score: 3.5/5

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Charlie Bereal – “Walk with the Father” review

Pasadena, California singer/songwriter, producer & multi-instrumentalist Charlie Bereal returning after almost 6 years to release his 3rd album. Formerly a member of The Soul Seekers, he would later depart the gospel group in 2017 to make a name for himself putting out the full-length solo debut Testimony independently followed by the Coalmine Records-backed sophomore effort 11-11-11 couple years later. His biggest breakthrough however came when WWE Hall of Famer Snoop Dogg signed him to Death Row Records last summer & wants everyone to Walk with the Father.

“Hope” begins his Death Row debut showing a heavy Curtis Mayfield influence keeping his head up to the sky remaining hopeful after Donald Trump’s 2nd inauguration earlier this week whereas “Some People” sings to take someone, share with them & building their own together. The self-produced “Never Gonna Take Away My Love” pays homages to The Delfonics promising that his love cannot be stolen from him, but then “The Greatest” pulls inspiration from The Stylistics assuring it’s all for the best.

Moving on from there, “My Only One” comes to the realization that he’s finally ready to settle down with the woman of his life crooning on top of these horns leading into the title track going for a Curtis Mayfield/Marvin Gaye vibe singing about how hard it is in Los Angeles & the ongoing wildfires in the SoCal area surely aren’t helping unfortunately. “Energy” featuring JMo & the Greats goes for a soulful funk rock direction instrumentally admiring one another’s vitality or power prior to “Wherever You Are” singing about a woman who’ll always be in Charlie’s heart going forward.

“Jack Move” starts the final leg of Walk with the Father crooning for his lover to give their heart to him while “Don’t Want to Get Up” brings back the funk once again to sing about trusting the process. The song “Toxic Love” soulfully asks why the love he has with the woman he has specifically in mind here is as harmful as it is while the penultimate track “Keep It Pushing” tells anyone listening who’s going through some shit to move forward since you only have 1 life. The funky closer “Come Go with Me” lastly ends the LP encouraging everyone to join him in being free.

Walk with the Father continues to strengthen the R&B side of Death Row Records following October London’s latest album October Nights a few months ago & Chocc’s debut EP Journals to Johnny a week preceding her father reuniting with his mentor Dr. Dre on Missionary by throwing it back to the days of 70s music giving flowers to those in the genre who paved the way & mixing elements of R&B’s present in too. Charlie does his preacher father’s memory justice recruiting Josef Leimberg to help him make the album his dad always wanted him to make before he passed away.

Score: 4.5/5

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King Syze, Planetary & Reef the Lost Cauze – “Murderers’ Row” review

Philadelphia, Pennsylvania emcees King Syze, Planetary & Reef the Lost Cauze coming together for a brand new collaborative EP produced by the Snowgoons. All 3 of whom are members of the Army of the Pharaohs collective, with Planetary making up the duo OuterSpace alongside King Syze’s brother Crypt the Warchilda year prior to AotP’s formation. Reef on the other hand did a stellar collab EP with King Syze a decade ago called Year of the Hyenas & are getting back together on Murderers’ Row with Planetary by their side.

After the titular intro, the first song “Yard Rec” is this boom bap opener talking about everyone listening up in case they don’t know by know whereas “Royal Family” featuring Planetary’s children ELEMXNT joined by Kxng Charisma & Trxstworthy serves as the only track without Reef the Lost Cauze talking about liking scary things. “The Most Imperial” grimily lets everyone know the type of people they stay rollin’ with just before “Heat Wave” talks there being too many lames.

“Death Penalty” gets the other half of the EP going by working in this piano-driven boom bap instrumental warning everyone that last year was their last year while “187” find a trio of setting out to make murdering an artform. The closing track “Something Outta Nothing” officially rounds out Murderers’ Row by mobbin’, stealin’, grindin’ & hustlin’ in order for them to achieve the goal they’re going for.

Year of the Hyenas holds a very special place in my heart since it came out in the winter of 2014 during my senior year of high school & I played it heavily then since it was one of the most stressful time periods of my life, but Murderers’ Row recaptures the energy of that previous collab EP & adds Reef the Lost Cauze into the equation excellently. The Snowgoons’ signature boom bap production combined with the performances from each AotP member make for an exciting hardcore hip hop experience.

Score: 4.5/5

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OsamaSon – “Jumpout” review

This is the 3rd full-length studio LP from Charleston, South Carolina up-&-comer OsamaSon. Starting a few years ago, he would then start to pump out 3 EPs shortly after I’m da Man as well as Vengeance & Carnival respectively. He returned at the beginning of 2023 by dropping osamavrt, following it up this past spring in the form of slime & Bad Habits. Osama’s debut Osama Season & the follow-up Flex Musix increased his profile as did the 3vil Reflection collab EP with Glokk40Spaz last spring, but he’s now ready to Jumpout after some delays.

“Southside” gets the album rollin’ by talking about everyone being mad at all the racks he’s made in the past year & a half over these synth-horns from Ok whereas the quasi-rage inducing “Fool” celebrates all the wins that he’s continuing to experience. “GTFO Out the Room” tells everyone to clear out proving that he can very much rock out too while “Made Sum Plans” asks his girl to talk to him since he off that drank.

Meanwhile on “Break da News”, we have OsamaSon bombastically flexes that his shooters don’t ever miss leading into “Room 156” maintains the hypertrap vibes to talk about not knowing if you never try to go. The title track produced by gyro reminds everyone that he’s not a new artist since he’s been around for a few years at this point just before “Going Dumbo” talks about going stupid.

“She Needs a Ride” completes the first half of Jumpout boasting himself waking up stoned off that good weed while “New Tune” talks about hittin’ licks dressed up in an outfit that cost him approximately $300K. “Waffle House” stands up for nonbinary rights since his bitch “don’t by no pronouns”, but then “I Got the Fye” shows how turnt up he’s been these days.

The classy trap direction of “Insta” is something that I really found myself enjoying talking about a girl he met on the Meta Platforms-owned Instagram app coinciding with it’s founder Mark Zuckerberg showing us his true shtoile on Monday while “Frontin’” gets back on the rage beats addressing an individual who be cappin’ suggesting they ain’t got shit to hide. “Mufasa” reaches the encore of the LP feelin’ like The Lion King’s antagonist while “Ref” talks about having more stripes on his chest than a referee.

“The Whole World’s Free” captures the artist’s message of liberation & personal empowerment amid the complexities of relationships & material pursuits while “Round of Applause” encourages everyone to pull-up & have fun. “Logo” starts a brief deluxe run talking about being that muhfucka tryna get his stats bigger & the final bonus track “Luv” shows off the hundreds he has in the bank posted up in the 6.

Flex Musix marked a huge breakthrough in OsamaSon’s career & he’s making up for all the pushback 8 months after 3vil Reflection became the best collab EP that he or even Glokk40 have ever cooked up in their careers by decent continuing where he left off on Jumpout. The rage-heavy production isn’t exciting as it was 13 months ago, but Lil O himself takes his intense performances higher.

Score: 3/5

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Dax Riggs – “7 Songs for Spiders” review

This is a brand new EP from Houma, Louisiana singer/songwriter Dax Riggs. The frontman of the seminal sludge metal band Acid Bath, he began releasing music under his own name in the summer of 2007 after signing to Fat Possum Records for his solo debut We Sing of Only Blood or Love & the sophomore effort Say Goodnight to the World. 15 years later, he returning to jot down 7 Songs for Spiders coinciding with labelmate Ghais Guevara’s debut album Goyard Ibn Said.

“Deceiver” sets the tone of what’s to come with this swamp rock, heavy psych, stoner rock & garage rock revival intro now realizing exactly how the Son of Sam feels whereas “Sunshine Felt the Darkness Smile” passionately sings about Jesus never laughing & Satan never crying. “Even the Stars Fall” is an alt-blues meditation on human collapse and how failure creates the only heaven we’ll ever know while “Blues for You Know Who” kinda riffs showing his love for Lebanese & Egyptian music.

The song “Ain’t That Darkness” gets the other half of 7 Songs for Spiders going slowly singing about darkness spinning across his guitar while the penultimate track “Pagan Moon” asks a young man if he even knows he’s dying & that his darkness is shining. “Graveyard Soul” rounds out the EP officially hauntingly pondering where & when one lost their junkyard smile.

Inspired by world music in addition to gospel music as well as hillbilly or even the proto-metal sounds & the Cajun landscape, Dax’ first solo effort in over 15 years feels like as if he hasn’t been gone for that lone tackling themes of human beings collapsing in upon themselves, sympathy for the villain, God & what your gods tell you about yourself fusing stoner rock with swamp rock, heavy psych, garage rock revival & alt-blues.

Score: 4.5/5

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Ghais Guevara – “Goyard Ibn Said” review

Ghais Guevara is a 24 year old MC, producer & political activist from Philadelphia, Pennsylvania starting in 2019 under the original moniker Jaja00 putting out a total of 8 mixtapes & 3 EPs in that span of time until signing to Fat Possum Records this past fall. His music is know. For expressing simmering anger felt by Black communities shocking & raising awareness among white listeners, coming off all 5 singles he’s dropped off ever since his new label deal gearing up for his official full-length debut studio album.

After the Act 1 intro, the self-produced “The Old Guard Is Dead” that was synced at the very start of Kendrick Lamar’s historic Super Bowl LIX halftime show begins by talking about becoming everything that everyone else didn’t want him to whereas “Leprosy” warns that he rolls with the killers that be packin’ it up & being the ones. “3400” acknowledges the amount of miles he is away from the hood & yet still can’t take it out of him, but then the 2-parter “I Gazed Upon the Trap with Ambition” cautions that his squad stay keeping the sticks on them.

“Monta Ellis” featuring Yoko McThuggin’ advises that you’re not really an all-star since you’re a startup & to check behind them while “Yamean” featuring FARO finds both of them asking where the palates at calling out everyone out here who doesn’t have any taste whatsoever. “Camera Shy” hits the function in fashion showing off his favorite designer brands & after the Act 2 intro, “Bystander Effect” featuring Elucid & produced by DJ Haram pleads not to come their way since neither of them have time.

Meanwhile on “4L”, we have Ghais talking about making sure you’re good for life while “The Apple That Scarcely Fell” featuring McKinley Dixon hops over a drumless loop talking about everyone wanting to put an end to them. “Branded” is this orchestral trap hybrid proud that he made it out even if he didn’t capture everyone’s hearts while “Critical Acclaim” talks about knowing one’s intentions & said individuals catching bodies for praise.

“Shaitan’s Spiderweb” nears the conclusion of Ghais’ full-length studio debut cloudily discussing having too many hoes in his phone these days while the closer “You Can Skip This Part” wraps things up on a chipmunk soul note asking who’s gonna take the bullet for him & who’ll take a shot for him when it comes down to it all in the end dancing for these crackers calling everyone else crackers in the process.

Inspired by Ingmar Bergman’s 1966 film Persona which Ghais says “opened my mind to the concept of the deflated self as a result of trauma” to the books Black Skin, White Mask & The Man Who Mistook His Wife For a Hat by Frantz Fanon & Oliver Sacks respectively, Goyard Ibn Said for it being his Fat Possum debut is more conceptual acting as a fictional anti-hero. Act 1 highlights the glory & spoils of mainstream hip hop stardom & Act 2 takes a surprise turn, focusing on the tragic experiences faced achieving that success through the sounds of east coast hip hop, experimental hip hop, hardcore hip hop, chipmunk soul, conscious hip hop, trap, spoken word & gangsta rap.

Score: 4/5

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Central C – “Can’t Rush Greatness” review

Ladbroke Grove, London, England, United Kingdom rapper & singer/songwriter Central C putting out his sophomore effort & major label debut as the we approach the end of the first month in the new year. After putting out a total of 4 EPs & a couple mixtapes in addition to his Split Decision collab EP he & Dave did, the 2023 XXL Freshman Class member has seen fit to sign with Columbia Records for him to make his proper introduction reminding that you Can’t Rush Greatness.

“No Introduction” is this UK drill intro talking about women tryna pretend as if they don’t know who he is already whereas “5 Star” reflects upon his come-up in the rap game. “Gata” featuring Young Miko apologizes for not answering sooner due to spending life & time while the money-hungry “St. Patrick’s” samples “C.R.E.A.M. (Cash Rules Everything Around Me)” by the almighty Wu-Tang Clan talking about being in the trap house getting his funds up & beef going hand-to-hand in hip hop.

21 Savage joins C on the 3rd single “GBP” highlighting the contrasts between the 2 artists’ roots & dealing with the struggles of street life while “Top” premeditates a graceful exit in the midst of trying to maintain. “Up North” maintains a UK drill flare talking about the life we live being as hostile as it already is, but then “CRG” featuring Dave finds the pair encouraging everyone to slow down with the greatness because it has to take time looking back on going from financial hardships to riches.

“Limitless” produced by Einer Bankz balances ambition & emotional burdens by tackling the internal conflict between wanting to escape his past & the sacrifices required to achieve financial success just before “Now We’re Strangers” tells an ex of his that he hopes she finds her way back home. “Truth in the Lies” featuring Lil Durk flips “So Sick” by Ne-Yo admitting to feeling suicidal without their partners’ love while “10” featuring Skepta boasts that they’re in UK top 3 every year.

Lil Baby accompanies C for “BAND4BAND” dropping braggadocio together while “Gen Z Luv” serves as an open letter to Madeline Argy. The song “Walk in Wardrobe” is a 2-parter promising to do it all again if he goes broke while “Must Be” talks about what his definition of “real” is. “Don’t Know Anymore” closes C’s debut doing more than 10,000 hours for him to get into the position that he’s at currently.

Catching onto him after a string of high profile guest appearances from The Kid Laroi to J. Cole & Ice Spice, I can definitely understand why Central C has becoming increasingly popular although the way he pulls off the UK drill/pop rap crossovers doesn’t necessarily appeal to me. The sampling of R&B & even Brazilian funk music is cool & I can’t deny that he’s come a long way from his earlier output.

Score: 2/5

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FKA twigs – “Eusexua” review

FKA twigs is a 37 year old singer/songwriter & dancer from Cheltenham, Gloucestershire, England, United Kingdom notable in the art pop scene for her XL Recordings subsidiary Young Recordings debut EP2 after her eponymous debut EP along with her full-length debut LP1 & her 3rd EP M3LL155X. Her sophomore effort Magdalene was also acclaimed with many saying it’s better than LP1 & the same goes with her Atlantic Records-backed debut mixtape Caprisongs, heading into Eusexua maintaining the classic caliber of both it’s predecessors.

The title track produced by Koreless brings together trance, art pop, progressive trance, melodic techno, ambient techno & minimal techno describing a feeling of momentary transcendence whereas “Girl Feels Good” desires men to listen to the passion of women unashamedly displaying the power women hold. “Perfect Stranger” works in elements of 2-Step, dance-pop, Euro house, alt-pop & future garage content with living with some mystery while “Drums of Death” with deconstructed club, UK bass, glitch pop, IDM, alternative R&B & glitch sings about you being her main character in your life.

“Room of Fools” sees her tempt the idea of love against this room of fools dances without a care of the real ongoings of the world while “Sticky” finds herself in the aptly titled kind of situations over & over again in attempts to express herself sexually since deep down she knows it’s a punishing cycle, but yet she can’t let go. “Keep It, Hold It” admits to feeling like wanting to turn the other way sometimes asking what she has to do & so just before the Jeff Bhasker co-produced “Childlike Things” featuring one of my top 10 producers Kanye West’s eldest daughter North West both going where the wild things are & North performing in Japanese better than she did “Bomb” off Vultures 2.

Meanwhile on “Striptease”, we have FKA twigs reaching the encore of Eusexua by singing on top of this angelic trap beat Dylan Brady helped put together additionally while “24hr Dog” feels herself becoming a so-called full time ‘slave’ for her partner resolving herself as to being a domesticated ‘dog’ for them in addition to their demands & wishes. “Wanderlust” ends the album telling her love to find her even if she is ‘lost’ in the immaterial lusting for the endless voyage that both life & death have to offer.

“The 11” starts the deluxe run describing a method she developed by encouraging conscious action on repeat for the mind & body via spoken word while the vocal trance, dance-pop, hard techno, progressive house, progressive trance, UK hard house & peak time techno single “Perfectly” sings about times things were messy for her yet doing it so well. “The Dare” seems like a cross between Madonna’s late 90s output & Dido knocking at this guy’s door daring him to forgive her & after “Gotta Feel” sings of her desires to be bathed in forgiveness & trust, the final bonus track “Lonely But Exciting Road” opens up regarding her belief of heaven possibly coming her way.

Inspired by a night in the summer of 2022 where FKA twigs found her way outside the city to a warehouse rave where hundreds of strangers were dancing to loud immersive techno, her first album in 6 years is more a love letter to dance music’s emancipating powers due to her channeling through the auteur’s heady, haunting signature style. The production shows influences of electronic dance music, art pop, trance music, dance-pop, alternative R&B, downtempo, deconstructed club, UK bass, glitch pop, IDM, glitch music, 2-Step, Euro house, alt-pop & future garage, progressive trance music, melodic techno, ambient techno & minimal techno providing greater understanding to the term she created herself defined as a state of being.

Score: 4.5/5

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Isaac Castor – “The Rabbit Hole 3: Smoking Caterpillar” review

Detroit, Michigan emcee Isaac Castor returning after 2 years for his 3rd full-length studio album. Coming up in 2010 under the original moniker Gameboi, he would go on drop 4 mixtapes & 3 EPs prior to signing to the local underground hip hop powerhouse Middle Finger Music following its formation 8 years later. He then enlisted the label’s co-founder Foul Mouth behind the boards for his full-length debut The Rabbit Hole & the sequel ahead of the trilogy chapter Smoking Caterpillar.

“Here They Come” is this boom bap-driven opener tryna get the money while he’s still here & assuring that he ain’t ever behind whereas “I Ain’t Fresh?” keeps it in the basement instrumentally dropping off battle bars for a few minutes. “Blind” has a soulfully & jazzier vibe talking about finally living in the mountains leading into “Why Should I Die?” hops over some horns, kicks & snares to call himself a diamond in the sky.

Kain Cole joins Isaac on “Cash Rules” planting the seeds whilst everyone else is camping while “Sidetracked” talking about all these other MCs selling out instead of him & refusing to do so. “Customer” maintains a boom bap edge promising 2025 gonna get ugly just before “Shadow Realm” featuring J-Classic & Mvck Nyce bringing the trio together so they can all flex their pen-game.

“Time for Jazz” hooks up a crooning sample talking about ditching the lazy habits he used to have, but then “Gotham” compares himself to Batman here to save the city. “Spin Itch” heads for more of a rap rock direction feelin’ cold blooded while “No Comp” featuring Jalen Frazier & Tone Plummer reminds everyone that you play by the rules if you in the game.

The song “Thoughts Runnin’” nears the end of the final chapter in the Rabbit Hole trilogy Smoking Caterpillar promising that he’ll break your head wide open so he can examine the contents of it while the closing track “Live Wire” aggressively rounds it out talking about going through the cycle all over again in the midst of him growing.

This upcoming spring will mark the 5 year anniversary of The Rabbit Hole in addition to the sequel turning 2 a couple weeks from now so whether Isaac intends on continuing the series with a Rabbit Hole 4 or a completely different body of work within itself, The Rabbit Hole 3: Smoking Caterpillar takes everything that made both of it’s predecessors the most essential listens in Isaac’s discography & elevates them. Foul Mouth builds his production around boom bap, jazz rap & rap rock with Isaac’s lyricism going from hardcore to introspective.

Score: 4.5/5

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The Weather Station – “Humanhood” review

The Weather Station are a singer/songwriter band from Toronto, Ontario, Canada consisting of bassist Ben Whiteley, keyboardist Johnny Spence, guitarist Will Kidman, guitarist Christine Bougie, saxophonist/clarinetist Karen Ng, drummer Evan Cartwright, drummer Kieran Adams & frontwoman Tamara Hope. Self-releasing their debut The Line in the spring of 2009 only to further introduce themselves with their sophomore effort All of It Was Mine as well as Loyalty & an eponymous LP, the latter of which resulted in Fat Possum Records signing the band & elevating them on their debut for the label Ignorance & recording the follow-up How Is It That I Should Look at the Stars around that same time. 3 years later, Tamara’s returning for her 7th album.

After the “Descent” intro, the first song “Neon Signs” is this artsy piano rock opener singing about it never being enough in a world without trust relying upon the lightning flash of lust whereas “Mirror” fuses art rock, trip hop, jazz fusion & jazz-rock comparing God to that of a reflection. “Window” balances art & jazz rock admits to feeling like her heart’s racing leading into “Body Moves” bringing together sophisti-pop, post-rock & jazz fusion after the “Passage” interlude addressing an individual seeing too far away.

“Ribbon” hooks up some heavy pianos singing that her pain is ordinary & being like anyone else followed by a fantastically lush outro but after the “Fleuve” interlude, the title track colorfully details diving into Lake Ontario & being shocked into a sense of the present. “Irreversible Damage” offers a heavy trip hop vibe reminiscent of Portishead while “Lonely” calmingly realizes what it was not to be alone. “Sewing” after the “Aurora” interlude closes Humanhood by clarifying it’s too late to take it all back.

Managing to be this cinematic widescreen record that tells a story going from dense to open to loud to silent, Humanhood returns 4 years after Tamara & company made their Fat Possum debut making commentary on the global climate crisis to showing a predominantly more personal side of Tamara & do so in such an ambitious manner showing influences of art pop, art rock, jazz-rock, post-rock, sophisti-pop, jazz fusion, trip hop & piano rock.

Score: 4/5

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