Heaven & Miztica – “Deathpression & Inhumanity” review

This is a brand new double disc collaborative album from Russian duo Heaven & Miztica. One of whom was already established within the European horrorcore scene by putting out a couple EPs alongside a full-length album as part of his solo discography in the early/mid 2010s & the other happened to be his close friend, music partner, a multi-talented vocalist & a highly skilled tattoo artist. Heaven sadly passed away in September 2021 due to COVID-19 complications & Scum signed the duo to Lyrikal Snuff Productionz exactly a year later, making them the label’s first international act. Deathpression & Inhumanity were later clarified to be Heaven’s final works, which made even more since when Miztica signed to LSP as a solo artist this spring.

“The Farm” starts in the form of this Hellish trap metal opener talking about the reason why both of them are alone whereas “Sorrow & Sadness” featuring Jakob Shaw finds the trio taking the boom bap route instrumentally discussing the only 2 things they have in this world. “On My Own” goes full-blown nu metal to talk about doing things themselves just before “Anger” fuses trap metal with nu metal showing off some angst.

As for “Close Your Eyes”, we have the duo returning with a nu metal edge with some hardcore rap verses leading into “Do Me a Favor” featuring Suburban Noize Records g-punk band (həd) p.e. gets everyone together for this killer rap rock/nu metal crossover throwing it back to the early 2000s. “Let Me Try” chaotically tackles the theme of death while “Where Are You?” sings about wanting to be remembered.

“No More Hell” works in some heavy guitars advising not to look at either one of them in the face since they’re ready to fly & the closer “While My Flame Burns” properly ties off the collaborative 2-disc experience with this heartfelt rap rock ballad that would not only make Heaven proud of, but Sick Jacken lays the best feature for the end on top of it.

In contrast to most of the artists on the LSP roster being known for putting a boom bap & trap spin on the horrorcore subgenre, Deathpression / Inhumanity sticks out as something completely unique blending trap metal with nu metal & rap rock during the span of a 2-disc body of work clocking in it a little over a half hour doing Heaven’s legacy justice & sparking interested in Miztica’s solo career going forward.

Score: 4/5

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Che Noir – “The Lotus Child” review

This is the 3rd full length studio LP from Buffalo emcee/producer Che Noir. Discovering her after 38 Spesh signed Che to TCF Music Group & fully produced her first 3 EPs, her Apollo Brown-produced full-length debut As God Intended & then her self-produced 4th EP After 12 during the 2nd half of 2020 where her potential began to blossom exponentially. She has since followed this up with the sophomore effort Food for Thought as well as The Last Remnants, the Big Ghost Ltd.-produced Noir or Never & more recently The Color Chocolate. Almost 9 months to the day, The Lotus Child has finally arrived.

“Shadow Puppet” is a soulful, jazzy self-produced opener talking about being unable to appreciate the sun until being in the shadows whereas “Black Girl” featuring Rapsody takes the boom bap route instrumentally allowing them to uplift African American women as a whole. “Sister Act” maintains a dusty edge to the beat teaching lessons from a student of the game just before “Guns & Roses” featuring 38 Spesh keeps the sampling in tact rubbing clean money into the faces of doubters.

Starting the other half, “Jodie Landon” comes through with an angelic boom bap vibe to the beat talking about the light guiding us all while “Wis Love” shifts into a cloudier direction paying tribute to her husband. “Choices” has to be one of the most passionate moments on the entire EP reflecting on the days where she was sleeping in cars feeling hopeless, but then Statik Selektah fuses gospel & boom bap on the closer “Angels” remembering her brother & cousin who were both murdered.

It was smart of Che waiting until the timing was optimum to deliver something focusing on her growth & artistry, which The Lotus Child very much achieves being 3 years in the making. Easily the most I’ve enjoyed something from her since Noir or Never. Her lyrical prowess, storytelling abilities & dexterity as a producer are all being fully realized as she raises the stakes & leaving some of the most essential cuts of her entire career along the way.

Score: 4.5/5

Rejjie Snow – “Peace 2 da World” review

Here we have the 3rd full-length studio LP from Dublin, Ireland emcee & singer/songwriter Rejjie Snow. Starting out a little over a decade ago, he went on to release the debut EP Rejovich and the debut mixtape The Moon & You ahead of the acclaimed 300 Entertainment-backed debut album Dear Annie. The sophomore effort Baw Baw Black Sheep was more moderately received in comparison & had interest in where Rejjie was gonna take it on Peace 2 da World.

“Africa” happens to be this 1-minute jazz rap opener saluting Mother Earth whereas “Karen” takes the luxurious boom bap route instrumentally referring to a middle-class woman perceived to be entitled or excessively demanding. The title track calmly advises everyone to not choose violence leading into the mellowly dusty “Tokyo Drift” addressing someone he thought came to party.

In regards to “Peekaboo”, we have Rejjie stripping the drums altogether melodically professing his love to his partner just before “I’m Yours” continuing the themes of romance offering more of a dancehall flare this time around. “Rio de Janeiro” is a pen-pal letter in the form of this dedication to the the titular Brazilian city, but then “Monkey in the Room” works in some background vocals talking about the pressure weighing on him heavy.

“Flight to Brazil” heads for trap territory playfully addressing his favorite woman while “Poofy Leaves” goes drumless again getting in tune with nature now it’s fall. “Mask On, Off” tells everyone to jump out the way & this ain’t propagated while “Grandma’s Hands” returns to the boom bap remembering his grandmother. “Snow White” closes Peace 2 da World praising the reasons for his looks over a vintage sample.

Since he’s a nomadic person, this album as a whole is a representative soundtrack to those days & the places Rejjie Snow has roamed in addition to themes of self-discovery & slowing down to focus on the important things in life. Speaking to his favorite person in the world & marking the very first time he’s made something for someone specifically, it improves on Baw Baw Black Sheep by forcing honor & challenge upon himself in ways he’s never done up until this point in his career.

Score: 3.5/5

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King Magnetic – “3rd Time’s a Charm” review

King Magnetic is a 46 year old MC from Allentown, Pennsylvania known for being 1/2 of the duo King & The Lost Cauze as well as a former member of the Army of the Pharaohs collective. Branching out in his own with the Everything’s a Gamble mixtape trilogy, he made his solo debut in the summer of 2015 with Timing is Everything which holds a special place in my heart since it came shortly following my high school graduation. Everything Happens 4 a Reason came in the spring of 2017 followed by the debut mixtape Back in the Trap & the Tone Spliff-produced sophomore tape Nobody’s Safe, the latter of which came after Magnetic’s departure from AotP due to a falling out with Vinnie Paz. Last we heard from him was a few summers ago when he dropped a 4th installment of the Everything’s a Gamble series & is returning for his 3rd album.

The title track produced by Tone Spliff is this boom bap opener starting a new building for the next floor of rap whereas “Money Call” maintains a dusty edge instrumentally delving into his business ties. “Keep One on Me” featuring Big Remo brings a soulfully raw vibe to the table courtesy of Khrysis explaining why they stay strapped while “Every Single Day” jazzily tackles the hardships of each passing day giving thanks to God.

“Rah Rah” featuring Kool G Rap brings the 2 together over this grimy beat bringing it hardcore together just before “POS” throws it back to the Back in the Trap era & I don’t mind since it’s a reminder that Mag can murder trap instrumentals too. “Where You From?” featuring Ill Conscious heads for a summery approach representing their respective home turfs, but then “Warrants” featuring John Jigg$ flexes they still out here over a soul sample.

After the Jake Palumbo remix of “Gun Charge” which I like more than the original, “Good Day” featuring Tug McGraw & Twin Gambit returns to the boom bap telling listeners that every day is good in their books while “Trust Issues” featuring Twin Gambit addresses the topic at hand over a piano flip. After the “Family Discussion” interlude, “Slow Motion” ends with Ka$h sampling some dirty south shit throwing kicks & snares in the fold getting it how he lives it.

Nobody’s Safe as a mixtape has to be right behind his first solo LP from almost a decade ago as my personal favorite in his discography although I’m sure anyone who is familiar with King Magnetic will find themselves enjoying 3rd Time’s a Charm. The guest-list is fine including a few standouts, the production is versatile whether it be boom bap or trap and dirty south & the Pennsylvania lyricist keeps it rockin’ for 40 minutes.

Score: 3.5/5

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Amyl & the Sniffers – “Cartoon Darkness” review

Amyl & the Sniffers are a pub/punk rock band from Melbourne, Australia consisting of drummer Bryce Wilson, guitarist Declan Martens, bassist Gus Romer & frontwoman Amy Taylor. Breaking out in the mid-2010s off their first couple EPs Giddy Up & Big Attraction, this resulted in them signing with ATO Records for their eponymous full-length debut & Comfort to Me. The latter of which became my introduction to them since it came out not long after current 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 made his in-ring return at the greatest AEW pay-per-view of all-time All Out III & he was giving it heavy props. Should further mention his role in being the guest referee when the current NXT Champion Trick Williams began his ongoing 2nd reign. B2B Records not too long ago signed a distribution deal with Virgin Music & are celebrating with their 3rd album.

The garage rock revival “Jerkin’” was a mediocre choice of a single telling obsessed losers who’re chronically online that Amy’s more successful than them & they’ll never get with her whereas “Chewing Gum” heads for a garage punk direction singing about being stuck to her new romantic interest. “Tiny Bikini” dabbles with hard rock discussing themes of feminism wanting to wear nothing but a bikini, but then “Big Dreams” forays into hard rock to sing about never being the dull one.

“It’s Mine” goes head-on riot grrrl come and clean it if she likes it it’ll eventually become her’s while the appropriately titled “Motorbike Song” serves as this rebellious head-banging anthem that I can most definitely hear Harley Davidson riders blasting as they’re driving around the city. “Doing In Me Head” admits that she’s sick of promising everyone that she’s the same as others embracing the hard rock vibes once again just before “Pigs” explaining that she doesn’t like the idea of conformity.

Meanwhile on “Bailing on Me”, we have Amy & company showing a bit of a White Stripes influence expressing the too familiar feeling of heartbreak prior to “U Should Not Be Doing That” fusing garage punk with garage rock revival alongside dance-punk & glam punk sings about knowing her worth. “Do It Do It” asks her lover all these questions maintaining a punk edge while “Going Somewhere” asks to turn off your phone & your thoughts altogether. “Me & the Girls” finishes by telling a story of her & her friends being wasted at the airport.

Cartoon Darkness in the grand scheme of things happens to be a conceptual LP revolving around the fact that our generation is spoon-fed information in addition to climate crisis, war, A.I., tiptoeing on the eggshells of politics & people feeling like they’re helping by having a voice online when we’re all just feeding the data beast of Big Tech. They drive headfirst into the unknown into this looming sketch of the future that feels terrible despite that it doesn’t even exist yet by expanding their garage punk sound beyond post-punk, hardcore punk, riot grrrl, glam punk, garage rock revival & hard rock.

Score: 4.5/5

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Skuff – “Fathom” review

Cambridge, England, United Kingdom emcee/producer Skuff making his Melonskin Records debut with his 4th LP. Coming up as a member of the Delegates of Culture collective in addition to being 1/2 of Skuff & Inja, he would eventually introduce himself as a solo artist in 2005 with The End of the World News followed by the debut mixtape Smash Everything & the sophomore effort Destroy Everything in 2012 respectively. It’s been almost 8 years since Level & was highly intrigued after learning Melonskin’s co-founder Dirty Dike of Contact Play would fully produce Fathom.

The title track hops over a flute-tinged boom bap instrumental talking about having to step away from music for a bit because he was looking for a challenge whereas “Sly Flute” keeps the jazz rap vibes going speaking of his penmanship bordering between tenuous & genius. “Krimson” gives off some electronic undertones talking about trying to get the whole place jumping to his music leading into the soulful “Freedom” begs for the audience not to follow anyone’s lead.

“Mood Swing” hooks up a sample-driven boom bap beat suggesting for everybody to step their lives up & comparing life to an open wound that doesn’t heal just before “Doozie” rawly dedicates itself to all the goonies smoking doobies out in the streets during warm weather playing music. “Eddie” brings the horns back in the mix talking about life being a whole ride of its own while “Labrador” pushes the 2nd half forward reminding that shit’s deep out here now matter how strong our limited heartbeats are.

Nearing the end of Fathom, the song “Wizzkid” blends a guitar with some kicks & snares talking about the younger generation seeming so stranger to the older folks while “Trinkets” continues the sampling to observe everything becoming so basic in recent memory. “Waiting” welcomes us to his end of days over a boom bap instrumental with synthesizers & after “Cresh” soulfully talks about the excessive amount of fake news, “Endo” ends with a mostly drumless piano looking to make invincible marks in UK hip hop history.

Originally announced at the beginning of 2014, all 3 artists Melonskin Records have signed since forming the label has had their own different sound whether it be Sleazy F Baby’s most recent album Blaxploitation embracing a more trap-oriented direction than his 2016 debut or be Eva Lazarus’ sophomore effort Brandy Kisses fusing contemporary R&B & neo-soul. That said: Fathom represents a new era of Skuff’s career introspectively recapping the last 10 years of his life over boom bap production & bringing his long-standing affiliation with Dirty Dike since the latter’s solo debut Bogies & Alcohol full circle.

Score: 4/5

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Jack Jetson – “Winter Forever” review

Here we have the 7th studio LP from Nottingham, East Midlands, England, United Kingdom emcee Jack Jetson. Introducing himself in 2012 off his debut EP High 5 & subsequent debut album The Adventures of Johnny Strange under Real Life Drama Records, he would go on to follow these up with his 2nd EP Lo 5 preceding Eric the Red from the Creatures of Habit & NLP signing Jack to his own label Lost Scroll Records in addition to having his brother Illinformed produce Strange Cinema in it’s entirety. Fountainhead, the Sofiamaniac EP & Umbrellahead were all poorly received although the Qway EP was tolerable. Reuniting with Illinformed for Camogodskin & Kobayashi Porcelain through Illin’ for Meds Records to stronger feedback, he’s following up the Alien Rehabilitation Technology EP with Winter Forever.

The title track starts off sampling a set of violins sprinkling kicks & snares in the fold talking about being born inside the coldest season of the year whereas “Auditoriums” featuring Leaf Dog finds the 2 breaking down their terroristic tendencies when it comes to the pen. “Newton” soulfully talks about his lyrical precision & has a bar honoring the late Nipsey Hu$$le prior to “No Mistakes” featuring Datkid boasts that no one’s moving the way they are.

“Pray” chops up more crooning samples airing out the idiots who think he stays saying random shit in his music leading into “Static” featuring BVA joining forces so they can talk about being ready for war. “Outside” gives off a luxurious boom bap vibe advising that shit ain’t what it seems looking in from an external perspective just before “Reality” featuring Datkid & Leaf Dog finds the trio talking about putting a lot more time & energy in real world situations.

To begin Winter Forever’s final act, the song “Broke Brain” ruggedly boasts that he’s still blowing more smoke than an old train while the soulful “Thug’s Passion” featuring 1jack cinematically cautions of leaving any & all threats in a past tense. The orchestral boom bap crossover “Frozen North” featuring Luso addresses so called friends who wind up snitching to the feds when it was the ones they least suspected & “Nothing Weird” soulfully finishes by talking about apocalyptic visions in his terrordome.

If I had to name my top 3 albums in Jack Jetson’s discography, I’d frankly have to put Winter Forever it above Strange Cinema & The Adventures of Johnny Strange since it’s replay value slips in the same discussions as those earlier full-lengths on top of it being the greatest thing to come out Illin’ for Meds Records so far. From the sharp lyricism Jack’s spitting to Illinformed’s boom bap production, it feels like a huge elevation compared to Camogodskin as well as Kobayashi Porcelain & Alien Rehabilitation Technology.

Score: 4.5/5

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Vitamin G – “Prophet of Doom” review

Here we have the official solo debut album from London, England, United Kingdom emcee Vitamin G. Known for being 1/3 of CMPND alongside Kemastry & Wundrop, he would also comprise 1/2 of the duo Illitamin G with Illiterate & made their debut in the spring of 2019. Establishing himself as an MC of his own in February a couple years later with the Isolean in Quarentation extended play, I was more interested in the fact Mr. Slipz was fully producing Prophet of Doom under High Focus Records.

After the “Wid the Snippets” intro, the title track comes out swinging with a gully boom bap instrumental talking about being an unstoppable force whereas “High Scores” works in a Middle Eastern sample advising to stay conditioned since the place he’s at can make that kind of switch if they wanted to. “Hailstorm” has a cloudier boom bap vibe flexing he only puts his hands together when he sneezes or beatboxes while “5th Dimension” featuring Pique Roscoe joins forces for a decent hardcore hip hop track.

“Never Lost It” brings a somber boom bap vibe to the table talking about how he hasn’t lost a step unless his head’s gone enraged just before the downtrodden “Vulnerable Youngens” featuring Kieran dedicates itself to all the children in the world having it rough in life. “From the Drop” reaches Prophet of Doom’s halfway point talking about making this shit look easy while “Bleeding the Steeze” kicks off the 2nd act dustily boasts he’ll get on the grind despite not being a skater.

Bil Next joins G on “Boiling Point” instrumentally keeping things in the basement & talking about them fitting the description of fulfilling a quota while “Shelly Ann” featuring Tommy Mila & Wates after the “Get to the Shubz” skit brings the trio together to discuss repping their brands. Farma G& Jehst both drop some of my favorite guest verses during “The Internet”, where they talk about being fine where they are presently because they each have everything they need.

“Struggling to Swim” begins Prophet of Doom’s last let coming to terms with everything being what it is whether some pissing in the wind & others sinking into an abyss while the cavernously raw “Not Speaking” talking about being in the corner without saying a word. Possi’o” featuring Axel Holy, Sk!nt, Shogun & Verbz brings the quintet together staying the same as they were when everyone was younger while “The End” concludes by talking about his flammable penmanship.

This guy’s multi-syllable rhyme schemes have always been a distinctive attribute to the warm feedback both of CMPND’s full-lengths received, but I unfortunately found myself a little torn with the Prophet of Doom’s outcome especially considering all 4 singles were highly enjoyable. There are absolutely no issues with Mr. Slipz’ production & the same can be said regarding Vitamin G’s lyrics, I just feel like they went harder with the guests than they should’ve rounding up almost a dozen of them throughout his inaugural LP.

Score: 3/5

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Tha God Fahim – “Tha Myth Who Never Quit 2” review

Tha God Fahim still dumpin’ with his 24th LP. Starting as an affiliate of Griselda Records as well as being 1/3 of the Dump Gawds alongside Mach-Hommy & Your Old Droog, we also can’t ignore the massive discography that he’s managed to build for himself, some of the standouts include Breaking Through tha Van Allen Belts & Dump Assassins. But dude has been on a CRAZY ass EP run in 2023 with the standouts being the Camoflauge Monk-produced Dark Shogunn Assassin, the Nature Sounds-backed Iron Bull & the Nicholas Craven-produced Dump Gawd: Shot Clock King 4, the Oh No-produced Berserko, Fahim’s last EP Dump Gawd: Rhyme Pays produced by Mike Shabb, Tha Supreme Hoarder of All Pristine Wealth. Supreme Dump Legend: Soul Cook Saga produced by Cookin’ Soul & more recently Machine Gun Vocabulary produced by Cartune Beatz. Over 5 years after The Myth Who Never Quit however, we’re now getting a sequel.

The title track sets the tone of what’s to come from the boom bap instrumental to the lyrics about leaving muhfuckas in the background whereas “Aspirations” hooks up a calmer beat explaining that the game never changes & stays the same from his experience. “Make Way” takes the soulful boom bap route flexing his genius when it comes to musical arrangements while “Scholar of Penmanship” continues the sampling of soul music to talk about his legendary status.

“Out of Options” works in another vocal flip boasting that he’s in his artistic prime leading into “Return to Fire” strips the drums completely warning that if anyone sends shots his way, he’ll gonna send them right back where they came from. “Max Ammo” returns to the boom bap talking about being reloaded on ammunition while “Poison Arrows” soulfully calls out the people who getting on their fan shit when he drops the manuscript.

The song “If You Don’t Use It, Lose It” gets the encore of Tha Myth Who Never Quit 2 on a symphonically dusty note clarifying that you only make it or get wasted around his parts prior to the intoxicatingly rich “Figure It Out” showing a mature side to the Dump Gawd as he talks seeing things clearer than the way he used to see them in the past. “Tha Choice is Yours” ends the album with 1-more drumless joint hopping over a bare woodwind telling the audience you can choose who you want to be in life.

Less than 2 weeks after Machine Gun Vocabulary dropped, Fahim & Craven link back up for a Tha Myth Who Never Quit follow-up that surpasses the LP we got from the dude earlier in the month. Nicholas Craven’s sample-heavy production maintains the boom bap vibes from the last album with a hint of drumless in the fold & Breadrick Douglas lyrically holding off on letting any guests join him to go harder than he did on Supreme Dump Legend: Soul Cook Saga.

Score: 4.5/5

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Saint Dog – “Funky Soul” review

This is the 4th & final solo LP from Chisholm, Minnesota emcee Saint Dog. Coming up as a member of the trio P.T.B. with D-Loc & Johnny Richter, all 3 of whom would later form the Kottonmouth Kings with Daddy X in 1996 & departed 3 years later. He nonetheless remained on Suburban Noize Records & made his solo debut with Ghetto Guide that celebrated its 20 year anniversary in February. This would be followed up with U.S.A. (Unconformable Social Amputees) & Bozo, the latter being in tandem with Force 5 Records. In commemoration of what would’ve been the O.G. King’s 49th birthday, the Funky Soul will always live on.

The title track featuring Chucky Chuck, The DRP & Obnoxious starts with all 4 of them dropping hardcore bars over a funky instrumental whereas “Ms. Demeanor” produced by Fiasco Andretti goes full-blown g-funk with Saint talking about a chick that he considers freak of the year. “Love Affair” works in an acoustic sound thanks to The DRP making it clear that there ain’t no kindness, but then we get treated to a remix of the highlight “1 More” off KMK’s 14th & to date final group album Kingdom Come.

“Rock & Roll Gangsta” resurrects some classics vibes altogether talking about being Heaven sent on a mission leading into “Trap Jaw” featuring Danny Diablo & Son of Saint brings the trio together over a psychedelic g-funk beat making fun of everyone wanting to rap. “Rydaz” gets the whole Force 5 roster together a rap rock label posse cut & after another Kingdom Come standout “Loyalty is Royalty” making it’s way onto the track listing, the song “Backlash” featuring Big Hoss maintains a rap rock sound bringing ruckus & “I Know” ends with another stripped-back acoustic joint.

Capturing the essence of West Coast hip hop that shaped the genre with a blend of gritty g-funk, robust grooves & Saint Dog’s signature hypnotic flow, Funky Soul marks a return to his roots by evoking the spirit of his early days in Placentia, California as a Kottonmouth King in what would eventually become a posthumous musical sendoff that would make him proud knowing that his legacy will always live on. Many of both Subnoize & Force 5’s artists who appear on it were influenced by Saint Vicious & I thought that was a well displayed attribute worth mentioning.

Score: 4/5

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