This is the 3rd EP from Detroit emcee, songwriter & producer Royce da 5’9”. Most notable for being 1/2 of Bad Meets Ǝvil with local sensation Eminem, his mark as one of the city’s illest lyricists has already been made along the way. Especially with releases such as Death is Certain, Street Hop, Success is Certain, Layers & Book of Ryan. Also can’t forget to mention his work with longtime collaborator DJ Premier as the MC/producer duo PRhyme or with the now defunct quartet of all-star wordsmiths that was once Slaughterhouse. But with his previous album The Allegory turning 3 last month, Nickel’s returning in the form of The Heaven Experience.
“Signs” is a Godly trap opener produced by STREETRUNNER dedicating this to those who fuck with him for real whereas “Out the Barrell” works in a sitar-laced instrumental from DJ Pain 1 with hi-hats cautioning those who haven’t been out here long enough to test him. “Look at This” has a more rugged sound thanks to the J.U.S.T.I.C.E. League remembering his uncle Joe while the song “Grown Ass Man” classily makes it clear that he’s about his family. The penultimate track “Royce & Reggie” with Redman finds the 2 lyricists over a soulful boom bap beat acting a fool in cyphers to the dislike of others & “Ion Wanna” sends off the EP with a somber ballad about what goes around comes around.
If this just to prelude listeners for his upcoming 9th album much like how Tabernacle: Trust the Shooter held everyone over until Layers dropped shortly after, then I think people should be more than satisfied with it. I like how Nickel took a backseat on the production by bringing in some established vets to take care of things in that department as one of the best lyricists in the D continues to elevate himself higher & higher in the ranks.
This is the debut EP from everyone’s favorite Vegas hooligan Big B. Starting out as the frontman for 187, he would go on to join OPM following the demise of 187 & become a household name for the infamous California powerhouse Suburban Noize Records just a couple years later. His first 3 solo albums High Class White Trash, White Trash Renegade & More to Hate would become some of my favorite releases that the label has ever put out. Last we heard from B was during the pandemic when he dropped his comeback album Welcome to the Club only a day after the 7 year anniversary of Fool’s Gold & is reuniting with Michael Bradford on Members Only.
“Too Young to Die Old” is a country-infused opener with B talking about his mind being in his prime as his body declines whereas “Summertime Sunshine” is a more acoustic ballad encouraging to get reckless & party all night long. The song “Killers” melodically details the protection that he has around him while the penultimate track “Here I Am” has a more rock & roll groove to it talking about being as heartbroken as he is. “Clean Hands” though ends things by delving further into rock turf admitting everyone’s hands around his part are dirty.
If anyone enjoyed Welcome to the Club for the more mature direction it took on all fronts, Members Onlycertainly expands on that to a tee & every single fans who’s already in the Felons Club by now should give it a listen. Big B’s songwriting is cohesive, he clearly sounds focused through his performances & Michael Bradford continues to be the perfect guy to bring the best out of his new country style with the production is as potently organic as it was 3 years back.
Juicy J is a 47 year old rapper, songwriter, producer & record executive from Memphis, Tennessee who rode to stardom in the 90s as the co-founder of the seminal Three 6 Mafia alongside his Tear Da Club Up Thugs cohorts DJ Paul & the late Lord Infamous. He’s also had the most successful solo career out of everyone in the Mafia whether it be the Taylor Gang Entertainment/Columbia Records-backed Stay Trippy & Rubba Band Business: The Album or even his last full-length The Hustle Continuesunder his new MNRK Music Group imprint Trippy Music. Last year he dropped Stoner’s Night with Wiz Khalifa as well as Space Age Pimpin’ with Pi’erre Bourne over the summer & the predominantly Lex Luger-produced Crypto Business in the fall, but is surprise dropping his 6th album out of the blue.
After the “Help You Need” intro, the first song “Going Thru Sum Shit” is a dark trap opener detailing the struggles of what Da Juice Man has been dealing with as of late whereas “Gettin’” takes a more chopped & screwed route talking about all the things he’s chasing. Xavier Wulf’s verse on “No Man” is underwhelming despite the slowed down vocal loop, hi-hats & theme of not being able to trust a single soul just before “I’m Stressin’” has more tense vibe sonically opening up about his stresses.
After the “Falso Reality World” interlude, Aleza comes into the picture for the vibrant “Ain’t Cool” to discuss how motherfuckers ain’t cool with one another hence the title even though they from the same hood leading into “Drink to Escape” returning to chopped & screwed turf touching on alcoholism as a way to cope with depression. “Memphis Made It” is a more heartfelt trap ballad paying tribute to the city that raised him, but then La Chat joins him for the bluesy “Deadbeat” portraying a toxic relationship.
“Different Type” weaves in some more hi-hats & a syrupy vocal sample to talk about the new times we’re in while “Demon of Addiction” symphonically tackles the complex disease that there is in fact hope of overcoming. “No Rapper” has a more rowdier vibes calling out the phonies even though Aleza, K Carbon & Slimeroni’s performances don’t do much for me at all with all respect until “Pay Attention” makes up for it with a cloudy trap joint about schizophrenia.
After the “Mental Health Crisis”, the song “Work Out” aggressively asks where the dollas at with a boring Finesse2tymes feature attached to it while the final song “Follow Home Robbers” prior to the “Juicy’s Pain” outro brings the late Gangsta Boo into the fold which is fitting because I’m sure the album as a whole was inspired by her unfortunate passing at the beginning of the to portray themselves as such so vividly over a morbid trap beat.
Some people including myself have felt like Juicy’s last couple solo albums tackle the same subject matter as solid as they all are, but I think Mental Trillness is the most personal we’ve heard from him in a while. The production plays to the Memphis trap sound that he helped popularize when Triple 6 broke out onto the scene & as he gives everyone a look at how he’s been handling Lady Boo’s untimely death throughout the past couple months.
Tha God Fahim is a 26 year old MC/producer from Atlanta, Georgia notable for his affiliation with 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 coming off 4 EPs in the last 3 months with my favorites of the quartet personally being the Camoflauge Monk-produced Dark Shogunn Assassin as well as the Nature Sounds-backed Iron Bull & the Nicholas Craven-produced Dump Gawd: Shot Clock King 4 that literally just fucking came out last week, Fahim’s enlisting Oxnard veteran Oh No behind the boards for his 42nd EP in it’s entirety.
“Da Coldest” is a calmly laced opener with the Dump Gawd talking about being unable to see the game holding him back whereas “Faithful” works in some horns to ask why try if you ain’t even giving your all into it. Droog comes into the picture for the crooning “Cobbler” talking about being the ones that supply the product leading into “Tha Haunted” taking a creepier approach in sound to say those who think can fuck with him got it twisted & all he wants to do is run it up counting bands
Jay NiCe tags along for “Axe Pain” brings back the horns as they advise it’s better to be a moving target than simply a sitting duck just before “Bladepoint” talks about his exact line of business & playing to win it all. “Art Official” weaves a bare soul loop into the fold as he makes it clear that he ain’t here to play games with cats & to tighten up, but then “Grind Hard” follows it up with a mellow ode to the hustle.
The song “Megachad Rap” goes full-blown boom bap continuing to flex his greatness while the penultimate track “I Show I Prove” returns to drumless territory as he cashes out. “Nightmares” on the other hand truly ends the EP by talking about watching his back because of how petty some people truly are & that he’ll never retire from this music shit over some chilling vocals & synths.
I know I just said a week ago that Shot Clock King 4 is the best EP that Fahim has dropped in 2023 so far, but there’s no question in my mind that Berserko is on the same caliber. And if he’s continuing to drop EPs every month for the rest of the year like how Flee Lord & Papoose both did respectively, then I’m excited to hear what he has to offer next month. His determination is still clear as day & it’s refreshing to hear Oh No production start to finish not only considering it’s been 3 years since A Long Red Hot Los Angeles Summer Night dropped, but also how equally as talented as he is compared to his older brother.
Larry June is a 31 year old MC from Vallejo, California been steadily grinding his ass off since dropping out of high school by dropping his last 8 studio efforts as well as 14 EPs & 7 mixtapes. My favorites of his ever-growing discography include the Lex Luger-produced Trap Larry, the Cardo-produced Cruise USA & it’s sequel Into the Late Night, the Harry Fraud-produced Keep Going & more recently the mobb music-influenced Jay Worthy collab effort 2 P’z in a Pod that just celebrated it’s 1-year anniversary last weekend. But coming off Spaceships on the Blade last summer, Larry’s enlisting The Alchemist to fully produce his highly anticipated 9th album.
“Turkish Cotton” is a jazzy opener to the album as Larry talks about making sure your tax is right whereas “89 Earthquake” dives into boom bap turf airing out every single person out here still looking at him as a threat. Action Bronson comes into the picture for the slick “Solid Plan” doing it all for the motherfuckin’ bankroll leading into Big Sean tagging along for the groovy “Palisades, CA” paying tribute to the titular city in the sunshine state.
Moving onto “Summer Reign”, we have Larry over a warm sample to provide a fitting anthem to ride around with the top down to as the spring weather continues to roll it’s way around the corner just before the Beat Butcha co-produced “Orange Village” enlists T3 & Young RJ of Slum Village has a more hypnotic sound to it as the trio work, live & try for a better day prior to him flexing with a fresh amount of charisma throughout the drumless “Porsches in Spanish”.
“Art Talk” with Boldy James has a more spacious, psychedelic quality to the beat as they discuss getting it off the black top until the summery, calm “Ocean Sounds” gets into romantic pop rap territory & actually not coming off as forced as some try to do it these days. “Left No Evidence” with Evidence perfectly enough hope over some pianos, kicks & snares as they both rock the shit in their own respective ways while “What Happened to the World?” with Wiz Khalifa has a more mellow approach talking about the only thing on their minds is to get the money.
Meanwhile on “Éxito”, things take a more twangier route as Jay Worthy assists Larry in showing off just how well respected they are & not wanting to beef with anyone as they continue at trying to succeed while the song “60 Days” with Uncle Al himself finds the 2 exuberantly talking about how anything can happen in 2 months. The penultimate track “Barragán Lightning” with Curren$y & Joey Bada$$ provide a colorful anthem addressing living off life & “Margie’s Candy House” is a jazzy, soulful closer looking back on his younger days.
Of the 9 full-lengths that Larry has dropped throughout his 17 year career, The Great Escape will no doubt quickly become the strongest of them all & one that I think new fans will find to be a perfect introduction into his discography. Uncle Al’s production is more drumless yet jazzy this time around perfectly suiting the Vallejo delivers some calm bars of luxury cars as well as presidential suites & of course fresh-squeezed orange juice that’re cooler than the other side of the pooler. Amazing job, Larry!
DJ Drama is a 44 year old DJ, record executive & music promoter from Philadelphia, Pennsylvania who got his start by founding Aphilliates Music Group alongside Don Cannon a decade ago. His profile would grow exponentially shortly after by beginning his iconic Gangsta Grillz mixtape series that’s still going 19 years strong today & becoming one of the most in-demand mixtape DJs ever by hosting some of the hungriest tapes from a wide range of already established artists including T.I., Jeezy, Gucci Mane, Lil Wayne & Fabolous. Dude even has 5 solo albums under his belt also, starting with Gangsta Grillz: The Album at the end of 2007 & the previous being a sequel to Quality Street Music the year after founding the Atlantic Records imprint Generation Now Entertainment with Don that initially discovered one of the biggest names the 215 has seen in recent memory: Lil Uzi Vert. Fast forward 5 years later, Drama would see a resurgence in his career after narrating Tyler, The Creator’s 6th album Call Me If You Get Lost fittingly enough since that itself was a homage to the Gangsta Grillz series. So coincidentally as T drops The Estate Sale to hold everyone off until his upcoming 7th album drops later this summer, DJ Drama is coming off hosting the recent mixtapes from the likes of G Perico & Kash Doll to name only a couple to drop HIS 6th album.
“Legendary” by Tyler sets off the album with Yung T detailing the influence that the Dedication mixtape series had on him during his adolescence over a rich, drumless instrumental from the Cannon whereas “Ho4me” by A Boogie wit da Hoodie is a disappointingly mediocre trap/pop rap ballad about taking it slow. “Raised Different” by Jeezy & the late Nipsey Hu$$le has a more somber approach touching on being made in the streets just before “F.M.F.U. (Fuck Me Fuck U)” by Gucci & Wayne find the 2 over some twinkling keys & hi-hats courtesy of CashMoneyAP paying homage to Keyshia Ka’oir Davis & Denise Bidot respectively.
Moving onto “Free Game”, we have Uzi & 42 Dugg joining forces to get in their bag over a Detroit trap beat from Helluva just before “350” by Rick Ross & Westside Gunn deliver some fly braggadocio with some pianos & hi-hats backing them. “Been a While” by G Herbo & Mozzy is a lavish trap banger that Nick Papz & Pooh Beatz laced about how they ain’t going nowhere leading into “No Weakness” by Symba, T.I. & Wiz Khalifa having a more cinematic groove to the instrumental as they remind y’all that no one built like them.
“Mockingbird Valley” by Jack Harlow is one of the weakest cuts on the album despite Don Cannon’s smooth production & that’s primarily because I personally found Jack’s performances to be mediocre until “Forever” by Benny the Butcher, Fab & Jim Jones makes up for it with it’s victorious trap beat & the razor sharp lyricism from all 3 MCs respectively about the lives they live. “Andale” by Moneybagg Yo & Offset is a decently aggressive cut quenching for blood while the song “Iron Right” by Boosie Badazz, OMB Peezy & the late Trouble is another dull moment from the annoying bed-squeaking sounds throughout the slick instrumental given by the late Traxamillion to the lyrics about not being the one to fuck with.
The penultimate track “I Ain’t Gon’ Hold Ya” by Jeezy was originally first heard on the Snoman’s latest effort Snofall that dropped about 5 months ago by now & there’s nothing wrong with hearing it again at the backend of I’m Really Like That since not only was Snofall amongst the trap pioneer’s best in recent memory, but this very song from it that makes it’s way over here just so happened to be amongst my favorites on it. “We Made It” by CyHi the Prynce wrapping things up with a heartwarmingly melodic trap song about success.
As someone who also grew up on the iconic Gangsta Grillz series much like Tyler, I personally found Drama’s last 3 solo albums to be subpar at worst & mediocre at best. That however is not the case with I’m Really Like That, as I consider it to be his best full-length in a while & a solid one to make a comeback on. The performances from the guests are more consistent as are the production choices & the theme reflecting on his journey in the game as well as the relationships he’s built over the years further reminds us of his legacy as one of the greatest mixtape hosts ever.
This is the 2nd EP from Ladera Heights MC, singer/songwriter, producer, actor, visual artist, designer & comedian Tyler, The Creator. Blowing up about 15 years ago as the de facto leader of Odd Future, he evolution both artistically & personally since the collective’s disbandment in 2015 has truly been amongst the most fascinating ones I’ve ever witnessed in my lifetime going from the bratty edginess of Bastard & Goblin to the undeniable maturity & versatility shown on Flower Boy & IGOR. Even Tyler’s last album Call Me If You Get Lost happened to be his best lyrically & as he gears up for his next one this summer continuing the 2-year schedule that he started on, he’s giving fans a collection of outtakes from the CMIYLG outtakes in the form of The Estate Sale.
After the “EVERYTHING MUST GO” intro, the first song “STUNTMAN” with Vince Staples is an energetic trap banger to the EP as they pay homage to “Swagger International” by Pharrell essentially whereas “WHAT A DAY” has a more colorful tone to it thanks to Madlib as Tyler talks about being your biggest cheerleader. WANG$AP reunites for the synth-laced “WHARF TALK” discussing getting lost together with their significant others just before “DOGTOOTH” is a jazzy, dirty south/neo-soul hybrid expresses Tyler’s desire for a woman that he can satisfy. The song “HEAVEN TO ME” details what his version of the pearly gates is over a boom bap instrumental while the penultimate track “BOYFRIEND, GIRLFRIEND” with YG is a funky pop rap ode to love. “SORRY NOT SORRY” however ends the EP with a bare sample of “He Made You Mine” by Brighter Side of Darkness wavering between apologizing both sarcastically & genuinely.
Given the ending of the closer’s music video where the authentic Tyler kills off all his past eras, it’s clear that he’s getting ready to drop his 7th album this summer & I think The Estate Sale is an excitingly short offering that’ll keep everyone satisfied until then. Tyler’s production plays into the mix of styles that Call Me If You Get Lost revealed to have sonically & his still bringing his A-game with the pen. Here’s to the new chapter from hip hop’s most beloved unique personalities in just a few months.
Autumn! is a 25 year old rapper, singer/songwriter & producer from Lafayette, Louisiana who got his start by dropping 16 EPs & a full-length debut on SoundCloud since 2018 prior to signing to Victor Victor Worldwide & Republic Records right following the Not Much Left EP. He made his major label debut last spring with his sophomore album Antagonist!, following it up with ##B4GC2 & Golden Child 2. But with the final chapter of the trilogy in the form of ##B4GC3 a couple months ago, Autumn!’s ending it by delivering his highly anticipated 3rd album.
“God’s Child!” is a spacious trap opener with twinuzis hoping that everyone’s proud of him whereas “All My Duffels Goyard!” blends pop rap with pluggnb talking about just how he likes his duffel bags since he’s finding himself getting back into fashion again. “Chelsea, N.Y.!” works in some pianos & hi-hats for a dedication to the titular spot in the City of Dreams, but then “Backseat!” cautions to watch out for all the hoes you come across in this game over some woozy synthesizers.
Meanwhile on “Tootheache & Gaslighting!” we have Autumn! delivering a 2-parter with a plugg-infused first half with a drum & bass fusion coming in during the latter as he warns not to play him like a fool & everything he says being facts leading into “You > Them (Hate It!)” expanding on D&B even further my blending that with pop rap talking about the trials & tribulations of a relationship he once had. “Them > You!” is basically a counterpart to the previous cut from its piano/drum & bass production to its seductive lyrics just before the intoxicating sequel to “My Collection!” off ##B4GC2.
“No Good!” is a spiritual successor to “No Good 4 U” by Summrs by atmospherically breaking down why he’s bad for this woman he’s seeing while “Still the Same!” has a more playful tone throughout reminding that he hasn’t changed since becoming famous. “Still the Same! 2” samples “If It Means Anything!” off his simp music ❤ EP expands on how he’s living now until the very song that was flipped makes it’s way onto the album with it’s icy synths & lyrics about a failed relationship.
The sequel to “If It Means Anything!” on the other hand chops up “Like a Tattoo” by Sade telling this woman he’s glad she came around even though he misses her & there’s no going back while “Like That!” is a more straight forward trap jam dedicated to all the fine women that New Orleans has to offer. “Girl from the Club! 2” samples “Party” by Beyoncé acknowledging this new chick wants to live in the fast lane while “Cowgirl!” shows her how to ride it over a rattling beat.
Moving on from there with “50M Freestyle!” where uzis admits he can taste his first milli with a peppy instrumental backing him while “Can’t Rent Anymore!” has a more futuristic yet vibrant approach talking about not giving a flying fuck about a rental. “Twotimestwo!” brings a more atmospheric vibe to the table as he paints a picture of his girl bringing her friend with them for a threesome while “Colors!” flexing his hunnids being blue & green with some hi-hats & bass behind him.
“Baby Fewch!” opens up the final leg of the album as Autumn! airing out the lames with a dramatic quality to the beat this time around while the song “Recollections of Fame!” is a catchy plugg banger about his BMW E-31. The penultimate track “I am the Goat!” weaves some more synths & hi-hats discussing his greatness with the closer being “The Remorse!” off ##B4GC3, which is an emotional tribute to his deceased brother.
If any of you were 50/50 on Antagonist!, I think Golden Child 3 will definitely make up for it as twinuzis ends the trilogy with his most well-rounded full-length album so far. The production is well grounded in his pluggnb roots whilst experimenting with drum & bass along the way as his growth throughout the years prevalently shows itself in the 67 minute run.
This is the brand new collaborative album between Danny Brown & JPEGMAFIA. One being an MC out of my hometown Detroit, Michigan & the other is a Baltimore-based MC, singer/songwriter & producer. Both of whom have cemented themselves as trailblazers in the experimental hip hop scene with albums like XXX & Atrocity Exhibition to All My Heroes are Cornballs & LP!. They first crossed paths when Peggy produced “3 Tearz” & delivered a remarkable impersonation of one of my idols Pharrell with his feature on “Negro Spiritual, both songs eventually wound up appearing on Danny’s previous album uknowhatimsayin¿ a few months before COVID shut the world down. But as the latter gears up to drop Quaranta on May 26 apparently, Danny & Peggy are uniting for the highly anticipated Scaring the Hoes.
“Lean Beef Patty” was a great choice for a lead single as it sets the tone of what’s to come with a glitchy hardcore hip hop opener also pulling from footwork jungle, chipmunk soul, hybrid trap & industrial music as JPEGMAFIA starts & ends his verse by dissing Elon Musk referencing John Schnatter’s racism & even AEW founder/current Ring of Honor owner Tony Khan in between until Danny Brown boasts about living in this chick’s head rent free prior to “Steppa Pig” almost having a bit of an EDM groove to it instrumentally as they discuss doing it for their legacies & calling out those who feel entitled. The title track pulls from avant-garde jazz advising that playing this will have the hoes touch they toes leading into the soulful boom bap jam “Garbage Pail Kids” belittling their opposition.
Moving on from there, we have “Fentanyl Tester” drawing from drum & bass music sampling the classic Kelis single “Milkshake” as Danny & Peggy warn y’all to hide as nobody’s safe at all leading into the triumphant yet monstrous trap banger “Burfict!” as they talk about being cliqued up & my favorite line has to be when Peggy said “cover his face, that bitch Mach-Hommy” in the middle of his verse. “Shut Yo Bitch Ass Up” brings back the glitch hop vibes as Danny does figure 8s on motherfuckers until “Muddy Waters” switches into a more trippier groove to the beat as JPEGMAFIA asks God to forgive him for slayin’.
“Orange Juice Jones” returns to a more soulful sound as both MCs take their significant others to space on autopilot just before Maryland up-&-comer redveil drops the album’s only feature on “Kingdom Hearts Key” as they air out those who think they know him over an angelic trap beat. The gospel sample throughout “God Loves You” is well flipped as Danny & Peggy get in a raunchier bag lyrically until “Run the Jewels” delivers a 1-minute drum & bass glitch hop hybrid saying most sorry-ass bitches won’t be like the titularly acclaimed superduo.
The song “Jack Harlow Combo Meal” kicks things off with some remarkably jazzy piano chords as Danny Brown promises to run up on you, take your spot & to take your business until JPEGMAFIA telling those who want action with him ain’t into actin’ while the penultimate track “H.O.E. (Heaven On Earth)” is a gospel rap ballad dedicated to the baddest bitches in their lives. “Where Ya Get Ya Coke From?” sends off the album with a chaotically cloudy fatality as Devon Hendryx talks about being off top on your bitch like 2-time AEW TNT Champion Darby Allin until Danny calls himself a failed chemistry experiment with a clever reference to Jimi Hendrix’s debut album Are You Experienced? shortly after.
As someone who’s been a fan of both these guys for a minute now, I had very high expectations going into Scaring the Hoes & it’s on par with LP! as amongst the greatest experimental hip hop albums of the current decade. Peggy’s ever-so experimental take on hardcore hip hop expands to industrial hip hop, glitch hop, drum & bass, jazz rap & trap as he & Detroit veteran both clash with one another excellently on the mic with dropping their respectively uniquely ear-grabbing lyricism. Rome Streetz’ latest album Wasn’t Built in a Day is my 2023 Album of the Year so far, but Scaring the Hoes is unquestionably up in the ranks too.
This is the highly anticipated sophomore album from Buffalo emcee Jae Skeese. Getting his start off the strength of his his debut mixtape W.A.C.K. (Women, Alcohol, Cash & Kicks) in the fall of 2010, it wasn’t until a decade later where he & 7xvethegenius gained wide exposure as the very first signees to Conway the Machine’s very own EMPIRE Distribution imprint Drumwork Music Group. He & his mentor just dropped their collab EP Pain Provided Profit a couple weeks ago, so it’s only right for Jae to come off that & his classic Big Ghost Ltd.-produced 3rd EP Authenticity Check by finally dropping Abolished Uncertainties.
“RVLVR” sets things off with Jae showing you why they call him exactly just that over a soulful boom bap instrumental whereas “Million Dollar Dreamz” takes a more shrilling route working in some more kicks & snares talking about chasing a bag. “Bonneville” keeps it in the basement not wanting to no excuses whatsoever, but then Freeway tags along for the rugged “Out Here” letting their presence be known.
Meanwhile on “Burner Phone”, we have Jae with a story to tell over a soul sample & snares just before La Maquina himself slides through for the classy trap hit “Symmetry” as they talk about trying to find a balance in their lives. “Lunch Table” returns to the boom bap letting y’all in on the newest page of his odyssey leading into “1 of 1” blends jazz & soul touching on his uniqueness.
The final leg of the album starts with the 3rd installment of his “EKIN” trilogy that began on Revolver Ocelot & continued on Iroquois Pliskin by jumping on top of a victorious loop with some kicks & snares talking that talk while the song “Mind Right” has a more harmonious vibe to it as he discusses on mental health. The penultimate track “Red KoolAid” comes through with some flawless saxophones as Jae talks about being made different & “Auntie Crystal” has a cloudier approach to conclude the album with a dedication to his titular aunt.
He’s come a long way since his full-length debut in Search of Symmetry & if anything, the sophomore effort Abolished Uncertainties further proves that as I would call it his best album to date between both of them as the Drumwork takeover continues. The introspective story throughout is cohesive & well-told as his artistic growth in the past decade is being put up in full center.