YoungThreat – “It Gets Greater Later” review

Here we have the 4th mixtape from up-&-coming Los Angeles, California emcee YoungThreat. Emerging in 2019 off his debut tape Chucks Laced, he wouldn’t return until the fall of 2022 with his previous tape Still in the Trenches in addition to It Was Never Going to Be Easy & the 83 Ways Out EP. Coming off his appearance on the title track off Kendrick Lamar’s surprise 6th album GNX last month however, he’s remaining confident that It Gets Greater Later by putting out a new project with only less than a week away from Christmas.

“Road Runner” starts the tape by mixing west coast hip hop & trap into 1 talking about being addicted to running the streets whereas “Headtaps” takes a calmer trap route instrumentally bustin’ scripts as if he’s looking for his meds. “Gallery” maintains the west coast trap vibes calling out those mad at him & walking out with charged up batteries just before “‘91 Premium” taking real bulky squabbling anytime anywhere over a sample & some 808s.

Meanwhile on “Big Bad Wolf”, we have YoungThreat aggressively discussing his lone wolf status in addition to dissing everyone out here who be actin’ like hoes & blowing shit since they ain’t make any bricks leading into “Belt 2 Ass” talking about moving as if he’s a part of the military & not rushing greatness. “Dot” admits that he felt like he hasn’t changed until the Kendrick collab while “Ina Set” talks always aiming above the neck & that resulting in headshots.

“They Woke” blends chipmunk soul & trap flexing that he rose from the concrete cement while the ominous “Can’t Let Go” talks about hittin’ blocks like they raidin’ them. “AI” wants to know why everyone can’t see his time being now while “Demon” talks about not affording to lose another gun suggesting that everyone wants to see a darker side to him. “Late Night” properly finishes It Gets Greater Later by clarifying that keeping it real is in his blood & refusing to let these rodents breathe.

Every feature on GNX had their own unique qualities to them & given that I wasn’t too big on the new Siete7x mixtape Stucc in the Hole when he initially dropped it a couple weeks ago, I happen to find myself gravitating towards It Gets Greater Later in the sense that it’s the best body of work from the up-&-comers who got their biggest breakthrough a month ago. The west coast trap production is darker than the previously mentioned tape from earlier this month & I like that YoungThreat refrained from overloading it with guests.

Score: 3.5/5

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Boldy James – “Hidden in Plain Sight” review

This is the 8th EP from Detroit veteran Boldy James. Breaking out in the fall of 2013 off his Alchemist produced debut M.1.C.S. (My 1st Chemistry Set), the Detroit lyricist would later go on to land a contract with Nas’ independent label Mass Appeal Records for a little while before getting locked up. Once coming home, Uncle Al would help get his name back out there once getting out by dropping the Boldface EP around Christmas 2019 & then the sophomore album The Price of Tea in China. This was followed up with the Sterling Toles-produced Manger on McNichols which was as equally fantastic, but the Griselda Records-backed Versace Tape EP was a tad bit disappointing given how rushed it was. Bo Jackson though would become his most critically acclaimed work to date & Super Tecmo Bo was almost as great for an EP. Fair Exchange No Robbery produced by Nicholas Craven also became another essential until Penalty of Leadership surpassed it & Mr. 10-08 produced by Futurewave is up there too as is the Conductor Williams-produced Across the Tracks at the beginning of the summer & The Bricktionary produced by Harry Fraud. A month after the latter, Carlo Anthony’s joining him for Hidden in Plain Sight.

“I.S.D.A.M.L. (I Sold Dope All My Life)” starts the EP with a drumless, funky instrumental talking about being in the drug game forever whereas “Dirty Dancing” reminds us that no one wins when the family feuds & wants to make sure y’all bring your dance shoes. The title track featuring Conway the Machine & Styles P brings a jazzier vibe to the beat spittin’ that gangsta shit & after the “Wire Taps” skit, “1st & 15th” featuring King Hendricks goes for a cloudy boom bap flare talking about supplying the coke.

ZelooperZ joins Boldy on “Big Wigs” fusing chipmunk soul & trap together sitting back as they watch everything blossom after going from being at the bottom to chillin’ at the spot sittin’ on $600K prior to “Brick James” swapping out the chipmunk soul elements of the previous joint in favor of jazz rap calling for Only the Family Entertainment founder Lil Durk to come home since he got arrested last month & sending his condolences to their biggest signee King Von, who was murdered several years ago.

Carlo’s primarily known the Detroit trap scene so a lot of people were expecting it to be a lot like The Bricktionary in terms of sound, but he completely proved everyone wrong by trying out sounds that’re new to his wheelhouse. His production goes from drumless to jazz rap, chipmunk soul, boom bap & cloud rap in the span of 18 minutes so Boldy James can finish off 2024 the way he started it: Applying pressure.

Score: 4.5/5

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Fury – “The Bender in November” review

Bristol, Connecticut emcee as well as Leathal Wreckords founder & the founder of the Leathal Weekends festival Fury releasing his 2nd EP. For 17 years almost 18, he’s dropped 3 full-length studio LPs & an EP by himself in addition to the Leathal Winter collaborative EP with Majik Ninja Entertainment alumni/iLLViLLE Worldwide founder Gibby Stites & most notably the You Already Know collab EP with Tre Lb of the Chop Shop over the summer. 6 months later, the younger brother of Shaggy 2 Dope from the Insane Clown Posse is now fully producing The Bender in November.

“I Wouldn’t” featuring Trikkdout opens up with this alarm-raising trap instrumental & both of them talking about their deadly tendencies whereas “Red Lights” featuring Vanity Grime somberly admits nothing good’s coming to him in this place he’s in right now. “Somebody Help Me” works in some guitars to talk about not wanting to go on & after the “A Friend” skit, “The Last Time” ends the EP by orchestrally wanting to heal this person’s soul.

Fury himself has been saying that The Bender in November stands as some of the best music that he’s ever made & being somebody who’s been paying attention to him since he formed the duo Something Awful alongside Bizarre of prior D12 fame, I’d have to agree with him on that fully. Tre Lb’s production maintains the consistency of You Already Know except this time around, he’s letting the Weirdo Movement member rip the mic by himself for 15 minutes.

Score: 4/5

Polo Perks – “American Pie” review

Polo Perks is a 30 year old rapper from New York notable for formerly being a member of the Surf Gang in addition to the 13 EPs & 3 mixtapes of his own that he has built up for himself since 2018 already. He just linked up with AyooLii & Feardorian for the collaborative effort A Dog’s Chance this summer becoming the most acclaimed body of work in the lowend subgenre thus far, returning 6 months later to drop off his 14th EP hopefully ahead of an upcoming full-length debut studio album & only 48 hours away from the current 2-time ROH World Champion Chris Jericho’s defense against the inaugural WWE Women’s Champion Chelsea Green’s husband in former DDT普遍的なチャンピオン, GCW World Champion, ECW World Television Champion, HoG Heavyweight Champion, TNA Digital Media Champion, NWA World’s Heavyweight Champion, WWE Intercontinental Champion, WWE United States Champion & 2-time WWE tag team champion Matt Cardona.

“Sir Loogie Noise” starts by jumping over a distorted, sample-driven lowend instrumental from Feardorian talking about being in his head and showing him the money if you want him to come to your party whereas “Elvis Presley is Dead as Fuck” dabbles with digicore flexing that he’s too turnt at the moment. “Skramz” goes for a hazier lowend vibe except that Polo’s vocals are mixed too low for my tastes & finally, “Stay Gold” featuring Reno ends with both of them dropping braggadocio over a flute-based beat.

What has always made Polo stand out for me is that he’s constantly trying new sounds from plugg to cloud rap, sample drill or emo rap & American Pie comes off A Dog’s Chance by continuing to do that. The lowend production from that previous collab album makes its way over here in addition to pulling further inspiration from the jerk, midwest emo & emo rap scenes as he offers a take on all those styles that’s more exciting than what other artists have been recently doing for roughly 7 & a half minutes.

Score: 3.5/5

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Gibby Stites – “Syndication” review

Millville, New Jersey emcee/producer Gibby Stites ending his 2024 by putting out his 6th studio LP. Starting in the music industry over a decade ago off his first 2 mixtapes Gillmatic & Broke n Local, he wouldn’t catch my attention until performing a set during Netfest On Your Couch during the 2020 COVID-19 lockdowns. Later that fall, he signed to Majik Ninja Entertainment & I had the honor of interviewing him shortly after the deal was made public. The 13th Wonder pretty much showcased Gibby to the juggalos as Jamie Madrox’ protégé & Welcome to iLLViLLE several months later took listeners through exactly where he comes from, but decided not to renew his MNE contract to form his own label iLLViLLE Worldwide shortly after. Off Air from last summer marked his return behind the boards after 5 years & is so far my favorite thing he’s done since leaving Majik Ninja & Pariah earlier this year was centered around mental health. However only 4 months after he & Charlie Beans to take us to the Echo Chamber, it’s time for him to fully self-produce Syndication.

“Wait List” hooks up some pianos & hi-hats talking about taking the crown that was waiting for him whereas “MVP” takes the boom bap route instrumentally representing iLLViLLE & still ridin’ after a few losses. “Jersey Drive” featuring Brick City icon Redman goes full-blown jazz rap for both of them to represent their home state for 2 & a half minutes leading into the soulful “Never Fall” talk still feeling hungry even though he’s the same age as me.

GILLtemper links up on “April Showers” sampling soul music once again seeing the future knowing it’ll be theirs just before “Don’t Give Up” luxuriously encourages everyone to keep it pushin’ & staying focused on the mission. “Recoup” featuring Method Man returns to the boom bap talking about them equally being the type of people to regain, but then “Phuck It Up” featuring Insane Poetry brings a hypnotic trap flare to the table as they fuck up a couple bodies.

“Demon King” pushes further towards the end of Syndication by showing off his storytelling abilities refusing to let a victim go & making Dragon Ball Z references along the way while the closing track “Haunted House” featuring Gibby’s girlfriend Karah Beth finishes with this crooning boom bap beat talking about being on his grind & moving similarly to house inhabited by disembodied spirits of every single MC who wanted out.

Gibby hasn’t self-produced a whole project of his since the 2018 debut album Technical Difficulties, so for him to come off 2 of the best EPs he’s put out since starting iLLViLLE Worldwide & recapture the energy of that LP was all about timing. He’s grown a lot as an artist & as a producer in the 6 & a half years in addition to the small handful of features being are more consistent than Pariah & Echo Chamber with a couple of them being high profile.

Score: 3.5/5

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Trade Voorhees – “Happy Saturday the 14th” review

Las Vegas, Nevada emcee/producer Trade Voorhees celebrating his birthday weekend by putting out his 4th full-length studio album through Bandcamp a day early. Since 2001, he’s been steadily hustlin’ within the Sin City underground by putting out a a trilogy of eponymous full-lengths in addition to 5 EPs & 14 mixtapes. I even had the honor of meeting him at the 2021 Gathering of the Juggalos during the last day of that year’s festival & it was all love. Continuing the spirit of his Saturday the 14th series however, Trade’s wishing everyone a Happy Saturday the 14th.

The self-produced title track happens to be drumless intro talking about how it’s a celebration up in this bitch whereas “16mm (Spooky Movie)” takes the ominous trap route instrumentally cautioning to make sure your house is fully lit since he’s creepin’ in the shadows. “This Should Be Televised” shifts gears into piano boom bap territory to talk about his greatness being common sense, but then “Rainy Dayz” featuring LEROYCHOPS maintains the kicks & snares suggesting another day being another chance to hustle.

“Rainy Dayz 2” picks up right where the predecessor left off removing the drums in favor of going for an atmospheric direction having no doubt he’s one of the best just before the 78 second “Dirty Forever” brings a cool lo-fi vibe to it coming to terms with himself being an anomaly. “Life Goes On” heads for a funky boom bap direction suggesting the best days come from not giving a fuck leading into “Barracuda” maintaining the rawness talking about the long grind he’s been on.

The somber boom bap tone of “I’m 37, I’m Not Old” spends a minute & a half reflecting on his 37 birthday coming up this weekend while “Killswitch” boasts that he & Johnny Millz have that same very safety mechanism on them. “$1M Idea” drops ideas as if the ads will pay him while the lo-fi “Rob Zombie Movie” talks about making everyone lose it. The closer “Selfishness” featuring Proper Like I ties it all up with them tired of waking up unimpressed with shit.

Paying attention to Trade through his collaborations with Chapter 17/Psychopathic Records in-house producer and Lazy & Crazy Clothing founder Shaggytheairhead these past several years, Happy Saturday the 14th is easily one of the most important entries in his discography yet. His production teeters between boom bap, drumless & lo-fi hip hop bringing on a couple guests to join him in recapping these past 14 months in roughly 25 minutes.

Score: 4/5

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Fashawn – “Carte Blanche” review

Fresno, California emcee Fashawn tapping in with New York producer Little Vic for his 5th studio LP. Breaking out 15 years ago off his 7th mixtape The Antidote, his profile would begin to increase from there whether it be the Exile-produced debut album Boy Meets World. or The Alchemist-produced debut EP FASH-ionably Late & the Mass Appeal Records-backed sophomore effort The Ecology during my senior year of high school. Although his music since for me personally has been hit or miss with this fall’s You Owe Us with Interest being a more recent example, I have enjoyed Little Vic’s production work in the past & that made me anticipate Carte Blanche.

“Crown Vic” is this piano-driven boom bap intro turning muhfuckas into sacrifices similar to that of Jesus Christ himself whereas “1 Eyed King” works in a soul sample with some kicks & snares giving handcuffs for Christmas in addition to a middle finger for the already corrupt system. “Pearly Gates” featuring Rasheed Chappell finds the 2 promising that they’ll still rising like murder rate even when they’re gone leading into “Autumn in New York” providing a boom bap anthem dedicated to fall in the City of Dreams.

As for “168”, we have Little Vic keeping it in the basement instrumentally as Fashawn looks for a 187 while “Victim” talks about everyone being soft & this being as hard as it gets. After the “Waygu” interlude, “Mac n Cheese” returns to the boom bap unloading a short but deadly 37 second verse on top of it just before “Capo” brings back the soul sampling getting in his battle rap bag. “Spaghetti Western” though ends Carte Blanche talking about pumpin’ weight instead of pumpin’ fake.

Coming from 2 different worlds, these guys bring unique stories & sounds that excellently blend the raw with the refined. Little Vic’s production creates a soundscape that mirrors the rags-to-riches journey that he & the Fresno lyricist represent flexing between hard-hitting rhythms & delicately soulful sounds that match the conceptually gritty yet sophisticated journey through life’s harsh realities & ultimate triumphs that Fashawn vividly paints.

Score: 4/5

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Paul Wall – “Once Upon a Grind” review

Houston, Texas emcee, DJ & businessman Paul Wall returning with his 15th full-length studio LP. An affiliate of Swishahouse Entertaimment & a co-founder of The Color Changin’ Click, his 2005 sophomore effort albeit major label debut The People’s Champpropelled him as an H-Town veteran & has since been steadily dropping music whether it be Bounce Backs Over Setbacks becoming the best album of his from the previous decade to the mixed reception of The Great Wall last winter. Ahead of the latter’s 1-year anniversary this weekend, he’s got a story to tell Once Upon a Grind.

“Woke Up a Millionaire” produced by DJ Fresh perfectly starts with a spacious beat talking about how amazing it is the way he be stackin’ up his paper whereas “Platinum Playa” fuses Mobb & trap flexing his aptly titled status. “I Get Down” takes the ominous trap route instrumentally dedicating this one to all the go-getters listening worldwide just before “Can’t Talk, Chasing a Check” featuring Lil’ Keke & Slim Thug finds the trio tryna collect paychecks refusing to chit chat.

As for “All Money Good”, we have Paul heading for a soulful trap direction letting it be known that all kinds of money around his parts is good money as far as he’s concerned leading into “Way 2 Wet” reconnects with DJ Fresh once more for an anthem built his candy-painted whip. “Swang Down” featuring Z-Ro shoots for a laidback approach advising the soldiers to slowly do exactly that, but then “All Night” is another DJ Fresh banger getting what’s his throughout the whole evening.

“Underground Ambassador” featuring Berner, Big K.R.I.T., Freeway, Rich the Factor & Termanology starts the encore of Once Upon a Grind with a nearly 5 minute posse cut while “Pocket Fulla Money” brings the Mobb flare from earlier back in the equation talking about his pockets being swole. “Run to the Money” featuring Yung Al sees the pair getting in that mode soon as they hop out of bed & “Love 4 Rent” sends it all off spreading the word of money being unable to buy love.

Once Upon a Grind redeems Paul Wall from the mixed reception of it’s predecessor almost 365 days ago & I’ll even make the argument that it’s the most I’ve enjoyed a solo effort from him in quite a while. It’s more well-produced, the guests’ performances stick the landing for the most part & Paul himself coming off more focused all culminates in this 41 minute LP that he conceived out of love for the very city that made him.

Score: 3.5/5

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Z-Ro – “Call Me Rother” review

Here we have the 27th full-length studio LP from Houston, Texas emcee & singer/songwriter Z-Ro. A member of the Screwed Up Click collective, he’s been holding it down for 3 decades already whether it be the Rap-A-Lot Records debut & my personal favorite in his discography The Life of Joseph W. McVey or his output as part of the Guerilla Maab & later the duo ABN. He dropped The Ghetto Gospel earlier this spring & fast forward 9 months later, he’s coming back telling everyone to Call Me Rother.

After the “Geto Boys Reloaded” intro, the first song “Charging” is this trap opener talking about it living life on the grind & getting his every single time whereas “Kingz” maintains a vainglorious trap vibe instrumentally rather keeping it peaceful when it’s anything but. “Live My Dreams” featuring Slim Thug keeps it rollin’ by talking about wanting to build shit with their cliques prior to “Side Dicc” gets back in the trap tip showing a sensual side to him.

“No Ice” mixes elements of dirty south & trap refusing to let anyone else sip with him admitting that he’s drunk as fuck already leading into the hypnotic trap joint “Paybacc” talks about getting his lick back & owing someone an ass-whoopin’ out of pure vengeance. “Vandross” produced by N.O. Joe boasts that he’s the young Luther Vandross & asking for everyone to keep their hands off while the guitar-driven trap joint “My People” makes a plea for everyone in his life believing it’s time for us all to come together.

As for “Log On”, we have Z-Ro over a moody trap beat finding all the haters runnin’ their lips whenever he turns around assuming that the circus is in his city with all these clowns just before “Love in These Streets” talks about his legacy out in the city that made him. “Rother” has a cool interpolation of “In the Air Tonight” by Phil Collins on the hook not shrugging off his detractors while “Him” featuring Cee-Lo Green is another favorite from the Cory Mo instrumental to the boastful lyricism.

“Neva 4get” reaches the encore of Call Me Rother by hooking up an acoustic guitar & hi-hats with an occasional saxophone bringing all his guns for a specific individual promising that he’ll be a muhfucka that one won’t ever forget of going forward while “Motion” talks about having the very thing that a lot of these other people out here are severely lacking in. The closer “Die” wraps up his 2nd offering of 2024 by pondering where he’ll actually end up going in the afterlife.

Z-Ro’s recent output has ranged from the potent introspection of No Love Boulevard to the mediocrity of SäDISM & for his 2nd album this year, I happen to like it more than the predecessor. The production has improved, there are lesser guest appearances in comparison & he seems to be more comfortable playing the villain in your story this time around.

Score: 3.5/5

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Lelo – “When It’s Over” review

This is the 6th EP from Detroit, Michigan up-&-comer Lelo. Signing to 10K Projects earlier within the year following his first 3 EPs, he would make his presence known more widely in the local trap scene by putting out his 4th EP Nightingale not too long after landing a record deal & gained even more exposure a month later by dropping the single “No Contempt” on SoundCloud. LifeAfterDogshit just so happened to come out a month ago & exactly 30 days later, he’s picking up exactly where he left off on When It’s Over.

“Broken” starts by mixing a rubbery bass-line with hi-hats talking about his top shelf status & being in it forever whereas “Get It Together” takes the cloudy trap route instrumentally talking about trying to get everything all in order. “Manga” has a cool symphonic trap vibe advising not to compare him to anyone he’s better than while “Dresser” cautions that all the extra shit is gonna result in y’all getting lined up.

To get the other half going, “Evangelion” talks about his desires of becoming rich & not trying to come off as being too brash while “Game” speaks on racing his idols out here rather than looking up them & callin’ a fuck boy his child since he raised him. “Numbers” nears the end of the EP by talking about having hoes leading into “Real Dogshit” closing up shop pointing out some of these dudes be actin’ tough & not seeing any action.

Whenever the time comes for Lelo to put out an official full-length debut, I really do think it’s gonna elevate him to the next level because I can say with confidence that When It’s Over has to be the most enjoyable EP in his discography other than Nightingale. The production maintains the consistency of the EP that he gave us only a month ago, once more holding off on any guests to make way for him rippin’ mics by himself.

Score: 3.5/5

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