Dizzee Rascal – “We Want Bass” review

Dizzee Rascal is a 41 year old MC, songwriter & producer from Bow, East London, England, United Kingdom who’s often considered a pioneer of the grime subgenre. His 2003 full-length debut Boy in da Corner under XL Recordings has been hailed as some of the best UK hip hop this millennium although Showtime & Maths + English were mildly received in comparison. Tongue ‘n Cheek launched his own label Big Dirtee Records formerly Dirtee Stank Recordings in tandem with Island Records, following it with The 5th as well as Raskit & E3 AF respectively. Don’t Take It Personal upon his Island departure was a modest declaration of independence & was intrigued by what his 9th studio LP had to offer almost a week after FTR, Kanji, Connor Mills, the current CMLL Mundial Femenil Campeon Persephone, Swerve Strickland alongside The New Level, The Brawling Birds, Mercedes Moné, Will Ospreay, La Parka, Kelani Jordan, Jackson Drake & Grayson Waller all respectively became the new RPW British Tag Team Champions, RPW British Women’s Champion, RPW British Heavyweight Champion, AEW tbs Champion, AEW World Trios Champions, AEW Women’s World Tag Team Champions, AEW Women’s World Champion, AEW World Champion, AAA Latinoamericano Campeon, NXT Women’s Champion, NXT North American Champion & NXT Champion.

“Foxtrot Oscar” opens up taking inspiration from electronic dance music instrumentally talking about doing whatever he wants because he’s a rockstar whereas “VIP” hooks up a rubbery bass-line so he can boast of not having to show ID when pulling up to the club. “Hit the Spot” leans towards a house vibe for a raunchier approach topically including a cringey sample of “Candy Shop” by 50 Cent until the 3rd single “So Hot” serves a weird blend of hip house, jackin’ house, Euro house & Brazilian bass sampling “Hot in Herre” by Nelly.

Continuing from there with “On Rpt”, we have more romantic lyricism over house beats containing a bit of an R&B twist to it just before the 2nd single “C U Dance” talks about wanting to watch a woman’s dance moves over a self-produced hip house instrumental. “Don’t Say a Word” further combines hip hop & house suggesting for people to listen & follow rather than merely speaking while the grime standout “Muy Bien” aggressively gets on his hardcore shit.

“All Night” began the whole rollout in the form of this uninspired lead single talking about letting the bass blast until sunrise while the 4th & final single “What U Need” treads the bassline waters promising to give his lover whatever it is she desires. “The Baddest” goes back to the hip house side of things talking about a lean-bodied woman being the best thing he’s seen all evening while “Oh Why” rattles off a list of questions he’s had for some time.

The song “Look Twice” prepares to wrap up We Want Bass speaking of a lady who’s so beautiful that Dizzee had to double check by looking at her a 2nd time while the delightfully surprising “Ridin’ Round Slow” featuring Bun B finds the pair talking about driving around in their whips slowly so all the pussies can see them. Another favorite would be the closing track “Tell Me Why” because he’s really taking these final minutes to get some serious shit off his chest.

Would’ve never imagined Dizzee Rascal making something almost as bad as The 5th if not worse since Raskit, E3 AF & Don’t Take It Personal we’re all average at best but here we are with another low point in the grime pioneer’s discography. I completely understand the hip house, bassline, UK bass, tech house, techno bass, jackin’ house, Euro house & Brazilian bass production was meant to homage the UK club scene except it all feels repetitive & the hardcore joints all outshine the sexually charged cuts.

Score: 1.5/5

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KARRAHBOOO – “Not da 2” review

KARRAHBOOO is a 29 year old rapper from Atlanta, Georgia who blew up in 2023 after former TNA World Champion, NXT Champion, NXT North American Champion & WWE United States Champion Trick Williams’ manager Lil Yachty signed her to Concrete Rekordz. Not only would she depart the label the following summer, but she was most notably the only artist in its brief existence who was actually talented other than Yachty himself of course. However coming off a string of guest appearances, she’s ready to make a broader introduction to the world with her official debut extended play.

“Inside the Booth” produced by Coupe talks about needing space from her clingy partner because she’s too high whereas “Pull a Luh Band Out” boisterously looks to walk her opps like dogs over a bell-driven trap instrumental. The lead single “No Hook” talks about being ready to drop for a minute & her past issues with Concrete embracing the Detroit sound just before the 2nd single “WYD?” hops on top of this cloudy Take a Daytrip beat describing a guy who’s constantly hitting her up.

Monaleo appears for the off-kilter “W.Y.O. (Whatever You Want)” taking shots at their completion over some buzzing synthesizers & hi-hats just before “Patched It Up” featuring Lil Yachty gets more in detail about their beef being squashed. “Make Her Dance” featuring k3 hits us with my least favorite guest appearance of the 4 which sucks because I don’t mind the sinister atmosphere while the 3rd &!final single “Keep Up w Me” featuring Zukenee makes up for it talking about learning from their mistakes & needing no pity.

“Swerve” wraps up the final moments of Not da 2 cautioning that anyone who fucks with her will wind up dead in the ocean & not being shy whenever money’s involved while “Understand Me” discusses being misunderstood, blocking out all the hate from the type of individuals who envy her & chasing the bag for her family’s sake. “Do U 1 Better” spends the remaining 115 seconds of the EP talking about upstaging everyone with her mother providing a sweet spoken word bit during the outro.

I’m fairly certain Mercury Records & Republic Records will do much more for KARRAHBOOO’s career than Concrete Rekordz ever did in the short amount of time she was signed to Yachty, but Not da 2 fell somewhat short of my expectations & hope for her full-length studio debut to be much grander statement in her discography. She does her part telling the world where she’s at in her life right now bringing a few guests on board who mostly kill it except the production choices could’ve been better.

Score: 2.5/5

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The Go – “Free Electricity” review

The Go was a garage rock revival band from Detroit, Michigan formed by frontman Bobby Harlow, guitarist/bassist John Krautner & drummer Marc Fellis. They would go on to release a total of 5 full-lengths including their 1999 debut Whatcha Doin’? under Sub Pop Records as well as the sophomore effort Supercuts& their eponymous 3rd album. Howl on the Haunted Beat You Ride & Fiesta, disbanding after the latter. A 6th studio LP however dating all the way back to 2000 has been authorized by Sub Pop & hearing they initially shelved it for being too “uncommercial” at the turn of the millennium only to dig it out of the vaults was intriguing to hear.

The title track fires it all up with an intro reminiscent of proto-punk bands MC5 & The Stooges pleading for his partner to let out the love she has for him whereas “Secular Century Man” takes a more lo-fi garage rock approach singing about the trials awaiting beyond a set of gates. “All Dimensions Are Loose” continues to take heavier inspiration from MC5 & The Stooges making a statement regarding freedom of expression & after “Peacock’s Angel” sings over these buzzing guitar tones about ready to blow your mind with a great time, “Pharaoh’s Tomb” reaches the halfway point with a free jazz-influenced ode to the late Pharoah Sanders.

“Into Outer Space” kicks off the 2nd half of Free Electricity on a more tranquil note pleading for this woman to brought back home leading into “Turnin’ On” fusing glam & punk rock despite the subject matter heading towards a more sexual direction. “Blood Red Sun” would easily be my least favorite song here due to the unnecessary length on top of the repetitiveness but once “Muthers of the Earth” hooks up some psychedelic guitar tones for a peaceful Mother’s Day anthem, “Golden Dawn” concludes the album we should’ve gotten after Whatcha Doin’? with 1 last garage rock jam singing about a sunflower making you feel alright.

Supercuts & self-titled were ok largely because they didn’t really explore beyond the garage rock revival style when Free Electricity was shelved, so I really felt like things would’ve looked differently had Sub Pop Records let The Go release it as originally planned because it deserves it’s spot with the likes of Whatcha Doin’? & Howl on the Haunted Beat You Ride as the top 3 most crucial offerings in their catalog. The production’s significantly jazzier compared to their debut although there are moments that have the same acid garage rock revival feeling as it’s predecessor, drawing additional inspiration from the late spiritual/free jazz icon Sun Ra.

Score: 4/5

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Bronze Nazareth – “Elysian” review

Here is the 7th solo LP from Detroit, Michigan emcee/producer & Black Day in July Productions founder Bronze Nazareth. Known for his membership with the Wisemen alongside his late brother Kevlaar 7 & eventually the Wu-Tang Clan’s in-house production team the Wu-Elements, he made his solo debut The Great Migration almost 2 decades ago & then School for the Blindman only 5 years later. Bundle Raps & Ekphrasis produced entirely by Leaf Dog & Roc Marciano respectively became his strongest output since his debut, coming off his childhood friend Apollo Brown producing Funeral for a Dream in tandem with Escapism Recordings last summer to have his sibling behind the boards 1 last time for Elysian.

After the “Elysian Invocation” intro, the opening song “Soul Stirrer” hops over a boom bap instrumental talking about being next in line whereas “Adesanya” shows some love towards UFC Hall of Famer & former UFC Middleweight Champion Israel Adesanya. “All I Could Do (Open 2)” whips up a sequel to a track off Illah Dayz’ 3rx album Ponch’e leading into “Lupus” featuring Hollywood Dots the Oncelor talks about the disease that killed the late, great J Dilla over 2 decades ago.

“Jacob’s Ladder” combines elements of soul boom bap to hit us with a flow smoother than cologne & after the “Kevlaar 2” intermission, “Bad Boys ‘04” featuring Salute da Kidd finds the pair likening themselves to the Detroit Pistons back when they won their last NBA Championship to date. “You’ve Been There” continues the 2nd half of Elysian with another soulfully dusty crossover talking about superstition not having a place within the journal inside his head.

Kevlaar 7 himself appears posthumously on “So7o” so the Cross siblings can rock the mic together 1 last time while “House of Legends” runs it back with Salute da Kidd provides an audio visitation rather than performing verses talking about feeling alive again inside. The final song “My Dead Brother Superhero” featuring Lord Jessiah preceding the “Elysian Benediction” outro ends Elysian with a soulful boom bap closer remembering his brother.

Nearly a dozen years since Kevlaar 7 passed away around Christmas 2014 of a blood disorder, his younger brother Bronze Nazareth digs up some of the final batch of beats he made giving them everything it deserved from his perspective & I don’t see how anyone who’s been down with them since the Wisemen days would be disappointed with the results of Elysian if he were here. Bronze ambiguously tackles streetology, life in the Motor City, aspirations, the wins & the losses while simultaneously making it clear K7’s sound hasn’t left.

Score: 4.5/5

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Fuse – “Womanizer” review

New York producer Fuse of the 808 Mafia making his his official solo debut. Some may recognize him for producing the Spring Clean series for Curren$y although he’s additionally crossed paths with many notable names from Future & Rick Ross to Royce da 5’9” & Benny the Butcher. He was recently motivated by Southside following his full-length debut Break the Silence last summer to take a jab at rapping & has brought Providence, Rhode Island producer araabMUZIK behind the boards for Womanizer.

“She Not Mine” hops over an atmospheric boom bap instrumental explaining his preference in women specifically being the hood type whereas “New Bitch” talks about having all sorts of hoes & growing up listening to Too $hort instead of Biggie. The uncredited female rapper featured on “High Maintenance” wasn’t too bad if it caught me off guard passably admitting she & Fuse need a lot of work until the R&B-tinged “South Beach” talks about meeting a freaky chick in Florida.

K Camp joins Fuse on the moody pop rap track “Head Shots” cranking up the seductive subject matter to wrap up the 1st leg of Womanizer just before “Date Night” telling the story of him taking a woman out for dinner costing $100 each to get the 2nd half underway. “Unstable” continues from there talking about a chick who needs some serious healing while “Couples Therapy” admits to dating a female without having any intentions of committing.

“Always Around” featuring Landstrip Chip finds the pair linking up over a sample-driven trap beat speaking to the type of women they should ghost instead of fucking in luxurious vehicles while “Ring the Alarm” featuring Sy Ari da Kid joins forces so they can issue a warning regarding someone’s girl being unfaithful to him. “Burnt Out” spends the remaining 2 & a half minutes of Womanizer asking this thot who lost all her values sleeping with guys for nice things she won’t receive in return.

Taking an opportunity to focus on himself as a recording artist after producing for others for almost 2 decades, I do think there’s room for Fuse to grow as a performer & Womanizer as a whole makes for an average beginning to this new chapter of his career. araabMUZIK killing it the production was a given to me since I’ve been paying attention to him ever since the stuff he did with Slaughterhouse in my adolescence, but the romantic subject matter gets tiring after a bit & had expected more out of the guests.

Score: 3/5

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Sham Blak – “Man of My Word” review

This is a brand new extended play & the 4th overall from San Diego, California emcee Sham Blak. Releasing his full-length studio debut Money Well Spent all the way back in 2013 when I was teenager, he would follow it up with his debut EP ShamRock along with the D Day Project & The Evolution of Sham Blak: As Lucc Would Have It EPs respectively. He recently put the sophomore effort Gratuity as well as Something Out of Nothing & ShamRock 2, coming off last summer’s Red October to be a Man of My Word.

“Power & Capability” featuring K4NO finds the pair linking up to talk about no one being realer than them whereas “Deebo’s” shifts towards a boom bap vibe instrumentally so Sham can lyrically get in his conscious bag. “Principle, Loyalty, Legacy” featuring Destruct joins forces so they can discuss keeping a cyclops vision when carrying tradition & after “Ain’t Nothing Like San Diego” props up his hometown, “Out the Window” featuring Mischif talks about doing this for the kinfolk.

Lorde Sims appears during “Tap In”, kicking off the 2nd half shittin’ on everyone & everything regardless of who it is while “Intentions” featuring Navy Jonez LKR rawly confronts someone regarding their precise objectives. “Round the City” featuring Mischif gets to the cake together without anything derailing their path & after “Shadowboxing” featuring Mr. Brady aggressively treads the battle rap waters topically, the outro “Farewell” sends off Man of My Word talking about going to bed when the sun does.

Documenting the mindset required to stay authentic & building something meaningful on his own terms, Sham Blak blends gritty introspective lyricism with hard hitting production & collaborative energy for an EP built upon principle, loyalty & legacy. Man of My Word calls for the world to stand behind what he believes exploring ambition, self belief to loyalty, relationships, community, internal battles & ultimately letting go & moving forward.

Score: 3.5/5

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Sleep – “Hempispheres” review

Sleep is a revered stoner metal band from San Jose, California consisting of drummer Dale Crover, guitarist Bubba Dupree & their only constant member in co-founding bassist/frontman Al Cisneros. Their 1991 full-length debut Volume 1 was solid, but Holy Mountain along with Jerusalem & Dopesmoker have all become stoner metal landmarks of their own. Returning in 2018 with their highly acclaimed 3rd Man Records debut The Sciences, they’re back again almost a decade later for their 6th studio LP albeit 2nd for Jack White’s indie label.

“Have Spacesuit Will Travel” conceptually inspired by Robert A. Heinlein’s novel of the same name left me torn as both a lead single & and intro because I didn’t feel like it pushed the stoner metal, space rock or stoner rock sounds forward in any way until “The Morrisist” comes through with another take on those styles that I’d consider decent at best except there’s a noticeably heavier Om influence than before & it’s brevity makes a good justification for being the 2nd & final single. However, Dale’s drumming left me equally unimpressed as Bubba’s guitar work.

The messy stoner title track would easily be my lest favorite if I had to pick one largely in part of the guitar tones being ripped out of the Kyuss playbook hence why it makes for my least favorite song here & once the 11-minute jam session “Arrival of the Industry Ships” delivers some of Al’s finest singing performances although his bass is blown out to the point where it can be distracting for some listeners, the closer “Whole Wheat Mountain / Well Baked” finishes Hempispheres oddly saving some of Bubba’s finest shredding for last.

This being Sleep’s being first album without co-founding guitarist Matt Pike was a huge concern of mine going in & although I still hold these guys in high regards, Hempispheres has the most likelihood of becoming the weakest entry in their discography yet unfortunately. I don’t mind Al Cisneros’ subdued vocals or the heavy psych undertones & even Dale Crodder’s drumming as someone who appreciates the Melvins, my issue lies with a great deal of Bubba Dupree’s riffs feeling thin compared to Matt’s & that’s why the stoner metal outfit’s newest incarnation leaves me on the fence. Either Bubba steps his game up or Al & brings Matt back.

Score: 3/5

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Hieroglyphics – “All Said & Done” review

The Hierogylphics are an alternative hip hop collective from Oakland, California comprised of de facto leader Del the Funky Homosapien, Casual, Pep Love, the Souls of Mischief, DJ Toure & producer/manager Domino. Making their full-length studio debut in 1998 with 3rd Eye Vision independently through Hieroglyphics Imperium Recordings to widespread praise, their 2003 sophomore effort Full Circle was also welcomed positively although their follow-up a decade later The Kitchen generally left audiences divided. 13 years later & they’re warming up for the crew’s annual Hiero Day festival this weekend with their 4th studio LP.

“Mosaico: Suite 1” by Casual, Del the Funky Homosapien, Opio & Tajai produced by Domino talks about hip hop respecting liars in 2026 & having no expecting of their albums becoming fire whereas “Eyes Wide Shut” by A-Plus, Del & Pep Love finds the trio confronting all the fraudulent hate over an A-Plus instrumental. “Hieroglyphics Faction” by A-Plus, Del & Opio representing their crew over a boom bap beat from DJ Toure while “Hard Numbers” by Casual, Del, Opio, Pep Love & Phesto expresses hope of having their numbers correctly.

A-Plus & Pep Love team up for the summery “Something in the Air” talking about wanting their legacies to reflect integrity when the time comes for them to hang it up leading into “Drum Talk” by Casual, Del the Funky Homosapien, Phesto & Tajai discusses letting the drums do the speaking in preparation for their slick rhymes being laid out. “The Way That It Be” by Casual, Phesto & Tajai talks about being stuck in their ways that pay ‘em leading into “Gods & Goats” by A-Plus, Opio & Pep Love ending the 1st leg likening themselves to bishops making proclamations.

The title track kicks off the 2nd half uniting A-Plus, Pep Love & Phesto expressing that they’d rather have a small piece of something in the end instead of absolutely nothing while “Uplifted” by A-Plus, Casual, Del the Funky Homosapien, Opio & Tajai tackles the subject of optimism. “Helicopter Barrel Roll” by A-Plus, Opio & Pep Love regroups so they can explain themselves as hip hop’s gasoline & every mic being a matchstick while “3rd Eye Robot (Kill ‘Em All)” by A-Plus, Pep Love, Phesto & Tajai talks about the rise of AI within the past couple years.

“Hiero on the Scrolls” by Casual, Del the Funky Homosapien & Tajai opens the 4th quarter suggests seeing past the streets & the meager mouths while the groovy “Mosaico: Suite 2” by A-Plus, Pep Love & Phesto dismisses all theatrics coming around them. “Everyday Shit” by Casual, Opio, Pep Love & Tajai talks about kickin’ it with each other all the way back to their childhood whole “Crescent Moon, Velvet Sky” by Casual & the Souls of Mischief sends off All Said & Done taking their play amongst hip hop excellence.

It’s not very often where all 9 members of the Hieroglyphics get together in the studio for an entire project but if I had to rank the 4 LPs in their catalog, All Said & Done would be placed above The Kitchen & Full Circle as my 2nd favorite of theirs collectively behind none other than 3rd Eye Vision. The boom bap production’s less receptive than The Kitchen’s was back when I had finished my sophomore year of high school & the consciously abstract bars from the Bay Area’s finest MCs feel more memorable, pretty much looking back at the legacy they’ve left behind.

Score: 4/5

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Fuego Base – “Still the Biggest” review

Hartford, Connecticut emcee Fuego Base releasing a sequel to his full-length studio debut in the form of a sophomore effort. Getting his start a few years ago off his debut EP Tell My Momma Imma Rapper, he would continue to build up his catalog by going on to drop another EP called Tell My Momma Imma Rapper Still & the Say Dat mixtape trilogy prior to Buffalo’s very own Benny the Butcher signed Fuego to Black Soprano Family Records. Coming off Biggest Since Camby as well as Say Dat 4: Proof of What God Do & Tell My Momma I’m Still a Rapper, he wants the world to know he’s Still the Biggest.

“Barbour St” strips the drums to open up shop talking about being in the hood because he’s a product of it instead of being poverty stricken whereas “Hartford” takes the boom bap route instrumentally for an ode to his hometown. The title track featuring Benny the Butcher finds the pair linking up to talk about how Fuego’s spot as the hottest prospect in his city hasn’t changed while ‘“93” discusses not knowing who one is until life tests you.

Sule appears for “T.E.I.O.” (To Each Is Own)” talking about making the bail & running along with rappers being 40 not doing shit with their careers leading into “Open Book” kicks off the 2nd half explaining the very reason he gives fans all of himself in his music. “Getting Out” talks about death, prison or copping a bigger house being the only choices possible of escaping the streets while “Rejoice” preaches hymns for his kinfolk somehow emerging where throats stay slit.

“Thank God 2” talks about touching people whenever he opens his mouth to speak & having an addiction to the game as bad as the junkies he served dope to while “Honda 2 Rari” cavernously admits he wouldn’t know where his mental state would’ve been if his squad wasn’t there for him when his mother passed away. The outro “Survivor’s Remorse 2” sends off Still the Biggest talking about not changing anything if he had the opportunity of rewriting his story.

3 & a half years since Fuego Base declared himself the Biggest Since Camby after signing to B$F, he’s continuing to let the work he’s putting in speak for itself several months since he & Benny linked up for their Ashes in the $afe collaborative extended play to deliver an exceptional sequel to his full-length studio debut. Was somewhat disappointed with the production lacking the same heavy hitters that made Still the Biggest’s counterpart so impressive, but there’s no denying his status within Hartford hasn’t changed since.

Score: 3.5/5

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Novatore – “Machines” review

2nd studio LP of 2026 & the 16th overall from Chicago, Illinois emcee Novatore. Breaking out as a member of the Infamous Crew, he’s also built up an impressive solo career over nearly a decade by dropping 4 EPs & an acclaimed collaborative effort with A.M. Early Morning produced by Stu Bangas called Kingdom of Criminality & it’s recent sequel produced by Johnny Slash. Other highlights include Louie, Louie II, Embrace the Darkness, Portrait of a Madman, Embrace the Darkness II: Explorers of Experience, Master of Morbid Creations, Living in the End Times, Alchemy & Black Magic, his Goon MuSick debut The 87 Arsonist & the Brenx-produced Agoraphobia. Embrace the Darkness III became his greatest material since signing to the label, coming off Pale Horse of the Apocalypse to run it back with C-Lance on Machines.

After the intro, “Metal Hands” flows over a boom bap instrumental to kick things off talking about being the man whereas the 2nd single “Apple Pie” featuring Copywrite finds the 2 linking up so they can get in their battle rap bags lyrically. “Casket” talked about considering death a beautiful escape in a paranoid state of mind & once the title track featuring Merkules joins forces to wipe out any team threatening them, “Terminator ‘91” ends the 1st half discussing his love for horror films.

“Devil in the Pale Moon” begins the 2nd half pulling the curtain back on artists who claim murder rap when it’s nothing more than suburban rap leading into “Action Stars” featuring A.M. Early Morning talks about neither one of them needing a stunt double. “Lords of Chaos” featuring Lord Goat provides the pinnacle of hardcore hip hop for only a couple minutes while the 3rd & final single “Message from Beyond” appropriately concludes Machines talking about the end being nearer than initially believed.

Retaining the dark tradition of Novatore’s whole sound, C-Lance runs it back with him to further reveal how much he’s evolved artistically since Louie II & the Embrace the Darkness trilogy Pale Horse of the Apocalypse in becoming my favorite of the 2 full-lengths the Chi-Town artist has dropped this year. His hardcore lyricism & C-Lance’s production have come a long way since the turn of the decade, but I was happy to see a condensed guest list.

Score: 4.5/5

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