Pat McAfee – “The Diary of a Polarizing Figure” review

Pat McAfee is a 39 year old sports analyst, color commentator, former professional wrestler, former professional football punter & kickoff specialist from Pittsburgh, Pennsylvania by way of Indianapolis, Indiana who played in the NFL between 2009-2016 for the Indianapolis Colts. He would later spend the next decade establishing himself as a sports analyst & had a run in the WME Group-owned TKO Group Holdings division WWE until WrestleMania XLII this spring. Including a feud with former AEW TNT Champion, record 3-time ROH World Champion, ROH World Tag Team Champion, ROH World Television Champion, the longest reigning NXT Champion, the inaugural NXT North American Champion, NXT Tag Team Champion, PWG World Champion & CZW World Jr. Heavyweight Champion Adam Cole. However, he’s having country star ERNEST helping him out for a full-length studio debut.

“Pitbull & Mugshot” pretty much begins with what you can expect singing over a country trap fusion about his dog Valerie who passed away whereas “Blue Collar Symphony” treads the country rock waters for a tacky ode to the working man, calling for the rest to get out their way. “Good Times” radiates a heavy bro-country vibe singing about wanting to drink whiskey in a smokey room with a guitar & a fiddle just before “Young Me” incorporates some pianos for an audio letter to his younger self.

Meanwhile on “Polarizing Figure”, we have Pat asking himself whether he’s amongst the greats or the opposite mutating elements of trap & country once more leading into “Outlaws” turning the country rock influences back up to declare himself a renegade. “Oops” wraps up the 1st act hitting us with a gross country rap experimentation talking about stirring the pot like he usually is while “Smokin’” discusses his love for weed although he certainly ain’t no Willie Nelson.

“No One Ever Knows” sings about life being good since he woke up today while “Rich as Shit” annoyingly gloats about ESPN giving him a $65M raise. “Big Rain Coming” sings about no longer wasting mornings worrying over the evening while “You’re Alive” ponders if anyone’s actually living these days. “Click Clack” has a piano-driven trap flare to it talking about stealing the show & “Cheers to the South” discusses celebrating life at every opportunity.

As someone who used to watch The Pat McAfee Show on YouTube until ESPN picked up the syndication rights, it wouldn’t be a surprise to me whatsoever if The Diary of a Polarizing Figure winds up becoming 2026’s worst country album. From the bro-country production to the songwriting & grating vocal performances, I sincerely didn’t get a single second of enjoyment outta this & would prefer if Pat McAfee stuck to sports analytics than making music ever again.

Score: 0/5

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Malakeye – “The Fallen Choir” review

Yes, the newest Long Live Evil recording artist Malakeye has properly introduced himself to the underground wicked shit scene for his full-length studio debut. Not much is known about him past this point other than the almighty Alla Xul Elu signing them to their independent label a few months ago & The Fallen Choir would be arriving the weekend prior of the 26th annual Gathering of the Juggalos organized by Psychopathic Records, which gives the world some time to get familiar with him until LLE performs a collective set at the festival.

After the “Sci Co City” intro, “Halo in the Fire” opens up with a boom bap beat produced by Billy Obey talking about being an angel in the streets whereas “Sorrow in a Smokey Room” passionate talks about a weight on your chest that makes one feel like they’re choking. “A Funeral Tune” has a cumbersome boom bap tone instrumentally singing for the dead & realizing he ain’t making it back to heaven just before “Lullabyes for the Lost” talks about his death fracturing time itself.

“A Liar’s Promise” was a wigsplitting lead single admitting that he feels insane because of him constantly walking with his screaming demons leading into “Afterlife of Ashes” returning to the boom bap with some organs talking about being one’s impending doom. “Faithful Lies of Mine” discusses the possibility of facing the very monster he’s become while “Fallen from Grace” continues the 2nd act of the LP talks about seeing people becoming fearful when looking at him.

Meanwhile on “Death’s My Shadow”, we have Malakeye passionately discussing the grim reaper following him everywhere he goes while “Too Late for Us” talks about the desire everyone has of erasing all of the mistakes they’ve made throughout their lives. “Don’t Let Go of the Light” brings a guitar into the fold singing of holding onto pieces of ourselves that we can’t seem to leave behind us & “Running in Place” concludes The Fallen Choir talking about feeling misplaced in life.

Choosing to exile from Heaven, the latest addition to the Long Live Evil roster Malakeye ascends again to the stage having the voices of angels in his head who he calls The Fallen Choir accompanying him for the beginning of what I believe will be an exciting career for him. He prepares to join Xul, the Super Famous Fun Time Guys & S.O.N next week by artistically establishing himself to be significantly melodic than his LLE counterparts & the production whipping up a new sound for the Evil empire.

Score: 4/5

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Sk8star – “The Beautiful Rebellion” review

This is the latest extended play & the 8th overall from Atlanta, Georgia recording artist Sk8star. Emerging all the way back in 2021 off Superstar Status, he would go on to follow it up with a total of 7 more EPs & a couple of mixtapes preceding him signing to Island Records for his full-length studio debut Designer Junkie this past spring marking a full circle moment when reflecting upon his earlier output. As he prepares for the upcoming sophomore effort After the Gala though, The Beautiful Rebellion has only just begun.

“Lo Mein” begins with a decent opener likening his girl to a vampire whereas “Bloodhound” produced by Pi’erre Bourne talks about these other muhfuckas being out of bounds compared to him. “Doom” featuring Pz’ finds the pair trading verses over an ahead of the curve trap instrumental from Nosaint of Vanguard Music Group leading into “Churchs’” bringing Richie Souf back behind the boards to resurrect the chemistry they displayed throughout Designer Junkie, talking about being the hood type.

Kicking off the 2nd half of the EP, we have Pi’erre & Sk8 cooking up 1 last banger together with the pluggy “Callin’” confronting someone who stayed the same unlike him evolving just before “Sk8rokk” introduces us to the titular MC/producer duo dissin’ those who run with what’s popular. “Loose Tooth” reunites with Richie Souf talking about receiving oral while the closing track “Siamese” featuring diamond* spends The Beautiful Rebellion’s final minutes discussing exactly how slimey each of them are individually.

Couple longtime fans of Sk8star I know have since hailed Designer Junkie to be the Take Care of his discography & regardless of my uncertainty towards that claim, I can say it was a satisfying culmination of everything he was doing throughout it’s preceding EPs & mixtapes. The Beautiful Rebellion nevertheless preludes After the Gala in the form of a tasteful transitional phase in Sk8’s career enlisting a couple ØWay members to remind the world on top of 16 minutes worth of tight trap, rage, plugg & cloud rap production that they really do this.

Score: 3.5/5

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Smash Mouth – “Mercury Comet” review

Smash Mouth is an alternative power pop band from San Jose, California consisting of bassist Paul DeLisle, keyboardist Michael Klooster, drummer Randy Cooke, guitarist Sean Hurwitz & frontman Zach Goode. Originally fronted by Steve Harwell from their inception to 2021, their 1997 debut Fush Yu Mang & the 1999 sophomore effort Astro-Lounge under Interscope Records are widely celebrated as their strongest material. Self-titled, Get the Picture?, The Gift of Rock, Summer Girl & Magic were received mediocrely at best & horrid at worst. 3 years after Steve’s death, they’re keeping the band on life support for their 8th LP.

“Better Believer” made for an average power pop, pop rock & geek rock intro calling back to their cover of “I’m a Believer” by The Monkees whereas “Whiskey, Gin & Wine” questionably sings about alcohol considering Steve’s death was brought on by alcoholism. “Had Enuff” was an underwhelming cross between pop rock, freakbeat, baggy, power pop & geek rock singing about being fed up with somebody just before “Big Sur Sky” makes a tacky metaphor for being a star one of Cali’s darkest areas.

We have Zach & company taking it back to the Get the Picture? era stylistically on “House of the Setting Sun” singing about always going home if you can’t find the door preceding “Monsters on My Block” hideously mutating pop rock, geek rock, cocktail nation, power pop, freakbeat, funk rock & new tone to wrap up the 1st half. “New Wave Rodeo” gets the 2nd act going making mediocre references to a plethora of older musical acts including Devo & Elvis Costello while “Gimmie Gimmie” provides a cringeworthy tale of some dude in a bind not wanting to share with his partner.

“Jackie-O” sings about thinking he’d seen everything until he saw the titular character diving headfirst into a wishing well while “Soaking Up the Sun” goes for a ska rock direction yearning to chill by the ocean to escape from all the turmoil in our world. “Face in the Crowd” sings about them looking for a way in the current landscape when I think disbanding would be the properly solution to that & “Midnight Doctor (Mercury Comet)” concludes the album putting us inside the shoes of a morning regretter.

There’s literally no reason for Smash Mouth to even try continuing post-Magic & unsurprisingly, Mercury Comet in comparison ties it’s predecessor over a decade ago to become the most unpleasant listening experience of their discography. The alternative pop rock, power pop, pop punk, geek rock, cocktail nation, pop, freakbeat, baggy, funk rock & new tone production sadly gets wasted on Zach Goode’s unbearable vocals & Paul DeLisle’s awful songwriting.

Score: 0.5/5

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Wakko the Kidd – “Infinity” review

Hollywood, California rapper & entrepreneur Wakko the Kidd staying busy with his sophomore effort. Introducing himself in the summer of 2018 off his debut single “Multiple Racks”, he would go on to launch his own strain of cannabis called Airheadz a year later. However a couple summers ago, the Insane Clown Posse signed him to Psychopathic Records & has performed at many of their events like the Gathering of the Juggalos or Hallowicked. Coming off his full-length debut In Airheadz We Trust & The Kidd That Did, I was highly anticipating Infinity since MIKE SUMMERS a.k.a. 7 was solely producing it himself.

After the intro, “17 Dead” opens with a homage to the ICP song of the same name until “For the Haters” featuring Esham kinda has a boom bap vibe instrumentally sending a message to the people who’ve doubted them along the way. “Why” goes for a trap direction trying to figure out the reason everyone tries to blame him just before “Chasing Shadows” featuring Brotha Lynch Hung talks about making the bitch known as jealously their girlfriends.

“Dark Skies” kicks off the 2nd half of Infinity professing his loyalty always lying with Juggalo Championship Wrestling (JCW) Commissioner Violent J because he believed in him when no one else did while “Mirage (High All the Time)” embraces a calmer trap direction so the Kidd can talk about not trusting anyone since life’s an optical illusion. “Don’t Let Me Down” ghostly discusses not being left disappointed & the closing track “Save My Life” recalls a near-death experience.

In Airheadz We Trust & The Kidd That Did each have their own share of songs that made me understand why Psychopathic signed Wakko the Kidd, but Infinity finally gives us that 1 project I always knew he had in him that would finally shut up the detractors who’ve initially rejected almost every other artist who joined the hatchet until eventually leaving. 7’s production is a huge upgrade from Wakko’s earlier output, there are only a couple wicked shit guests joining him & it’s make absolutely sense for the west coast artist to step up his own performances.

Score: 4/5

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Cletus Strap – “rappers suck.” review

This is the 2nd extended play & Tan Cressida Records debut from Inglewood, California emcee/producer Cletus Strap. Dropping his debut St. Cletus in 2022, he would go on to follow it up with the Hidden Agenda EP along with the sophomore effort serving as the sequel & What Might Happen. Tan Cressida recently announced there would be a new & improved version of the label, releasing rappers suck. to commemorate this forthcoming era of widely showcasing up-&-coming talent.

“Paddleball” begins with a 90 second lowend intro produced by Earl Sweatshirt dismissing any back-&-forth shit coming his way whereas “chilli” takes a cloudy stoner rap approach psychedelically talking about smoking weed. “on tha run” works in some prominent synthesizers prior to “risk it” featuring VIP Skylark wrapping up the 1st half with the weakest guest appearance of the 2 if I had to pick, although the cloudy drill vibe in general to be sweet.

We have Cletus on “fuck no” talking about not bringing any money around him because it’s high stakes just before “nonchalant” featuring Earl Sweatshirt finds the pair talking about moving calmly combining cloud rap with Jersey club rap & sexy drill. “goose chase” hooks up a soul sample to advise against fuckin’ around in risky situations & the closer “way more fun” concludes rappers suck. talking about still taking charge regardless of his tab remaining open.

Black Noi$e dropped his only album Oblivion through Tan Cressida Records back in the summer of 2020 during the COVID-19 pandemic so that technically makes Cletus Strap the 2nd artist other than Earl to drop new music under the imprint, but rappers suck. widely introduces us to him by giving us 20 minutes of the finest material he’s made. The trap, cloud rap, drill, plugg, lowend, Jersey club rap, sexy drill & pluggnb production separates Cletus from Earl’s experimentally abstract style well although the lethargic delivery might not be for everyone.

Score: 3.5/5

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Dax – “Anger Management” review

St. John’s, Newfoundland & Labrador, Canada rapper Dax has returned for his 3rd studio LP. Working as a janitor before blowing up after dropping the single “YourWorthIt.org” with Hopsin in the summer of 2018, this was followed up with his debut EP It’s Different Now shortly after & the I’ll Say It For You EP under the Strange Music subsidiary It Goes Up Entertainment. Pain Paints Pictures was one of the worst debuts of this decade & the Columbia Records debut From a Man’s Perspective proved to be worse, unsure of what to get out of Anger Management.

“Big Boys Don’t Cry” tritely opens with this rap rock intro talking about men hiding vulnerability from the world whereas “Trauma” goes for a generic trap vibe, confessing to the feeling of in escaping the past. “Diary of an Alcoholic (10 Shots)” comes through with a fake deep perspective regarding alcoholism over a country rap instrumental leading into “God, Can You Hear Me?” melodramatically begs for the Man upstairs to listen to his pleas.

Continuing with “Man I Used to Be”, we have Dax talking about becoming half the person he was when Jamiroquai already tackled this subject with one of my favorite singles of theirs prior to the country-inspired “Temptation” reaching the halfway point speaking of desire knocking at his door. “The American Dream” forces himself to get in his patriotism bag when he’s not even American while over acoustics until “Caught You in the Bed” gets preachy regarding infidelity.

“Your Feelings” winds down the last leg of Anger Management mutating country rap & trap talking about the place Satan attacks at every chance while “Happy Wife, Happy Life” comes through with a corny pop rap track with a country twist to it. “Gave You the World” makes a turn towards cloudier territory talking about an ex-girlfriend he couldn’t save & “Comfortable Being Alone” hooks up a generic beat to send it all off finding solace in loneliness.

From a Man’s Perspective saw Dax coming into his own stylistically considering he’s pretty much embraced a more prominent country rap sound than anything he’s been doing for the past decade since & attached a sloppy point of view regarding men’s mental health when you got people like King Iso doing those topics justice, but Anger Management gratingly expands the musical ideas of it’s predecessor nearly 2 years ago to insincerely convey the reality of being honest with our struggles.

Score: 0/5

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Dinner Party – “Whatchu Bringing?” review

Dinner Party is a neo-soul/jazz rap supergroup consisting of Kamasi Washington, Robert Glasper, Terrace Martin & 9th Wonder. All 4 of whom are acclaimed producers in their own rights, dropping their eponymous full-length debut in the summer of 2020 through EMPIRE Distribution when the COVID-19 pandemic was occurring & following it up nearly 3 years later with the neo-soul influenced sophomore effort Enigmatic Society to more lukewarm reception. Nonetheless, I still had anticipation for their 3rd studio LP considering the respect I already for its individual members.

“Stop Being Late” begins with a 2 & a half minute opener blending jazz as well as hip hop & spoken word whereas “If It Ain’t Broke (Love Wins)” by Phoelix turns up the soulfulness, singing about leaving perfectly functioning things alone unless they’re no longer working. “Stargazing” also by Phoelix finds himself thinking of the world’s current state fusing jazz & R&B together but once “Breakfast at Sharkey’s” takes a prominently compositional approach, “I Wonder” by Phoelix kicks off the 2nd half on some neo-soul vibes.

As for “Just My Type”, we have Phoelix over some predominantly finger snaps carrying over the themes of romance leading into “I’m Yours” by Phoelix smoothly assures his partner that he won’t leave her for any other woman. “Mutual Respect “ leans towards the jazzier side of things for a bright instrumental piece preceding the outro “Peace of Mind” properly sending off Whatchu Bringing?tastefully combining elements of jazz rap & boom bap.

For anyone who came away from Enigmatic Society enjoying it less than Dinner Party’s debut album, you’re probably gonna prefer Whatchu Bringing? like myself because I’d have to put their most playful statement right behind self-titled for my 2nd favorite entry in their discography so far. The primary neo-soul sound remains in tact, incorporating secondary influences of jazz fusion & instrumental hip hop for the course of a half hour.

Score: 3.5/5

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Q-Unique – “The QR Code” review

Los Angeles, California deejay/producer DJ Rhettmatic teaming up with Brooklyn, New York emcee, singer & producer Q-Unique for his 4th studio LP. Emerging as 1/4 of the Arsonists & the lead singer of the 3-man hard rock outfit Stillwill, he’s also built up impressive solo discography for himself since the Uncle Howie Records-backed Vengeance is Mine nearly 2 decades back at this point. He would follow it up the previous decade with Between Heaven & Hell alongside BlaQ Coffee and The Mechanic before Stillwill bassist Fieldy of KoЯn fame produced the Pound for Pound EP. Coming off the Royal Blood EP produced by Jake Palumbo however, Rhettmatic’s handling The QR Code.

After the intro, “Cypha Up” aggressively opens up encouraging people to study with him & make some bread whereas “It Only Leads the Way” ruggedly describes an identity crisis some artists may experience after being deluded by materialism. “Fire Vision” featuring LMNO finds the pair linking up to flex their lyrical proficiencies over a raw beat just before “Suckess” talks about their experiences of people becoming unrecognizable after achieving success.

“The Good Life” encourages all shine their light through changes they make prior to “All in the Mind” featuring Ras Kass aggressively kicking off the 2nd leg teaming up to talk about the dangers of overthinking. “The Meltdown” featuring Esoteric joins forces for a cutthroat battle rap cut while “Comic Con Nerd Shit” featuring Pharoahe Monch pits the rebels against the stars. “Let’s Rock” embraces a rap rock vibe for a mosh anthem & the outro “Faith” talks about his everlasting future.

Excluding both Pound for Pound & Royal Blood because those were EPs, I might have to put The QR Code above Between Heaven & Hell & The Mechanic as Q-Unique’s 2nd best full-length rivaling his debut Vengeance is Mine to become the finest collection of material he’s made on his own. DJ Rhettmatic’s production paired with the concept of being original, staying authentic, respecting hip hop culture & never following the crowd sets the standard instead of chasing trends.

Score: 4/5

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Inspectah Deck – “Dragon’s Breath” review

Here we have the 5th solo LP from Staten Island, New York lyricist & producer Inspectah Deck. A member of the almighty Wu-Tang Clan as well as 1/3 of CZARFACEwith 7L & Esoteric, he would eventually drop his solo debut Uncontrolled Substance in the fall of 1999 under Loud Records & Relativity Records. Which I found myself enjoying more than the MNRK Music Group-backed The Movement as well as Manifesto & Chamber #9, although The Resident Patient marking the launch of Deck’s own label Urban Icons Records & Cynthia’s Son both came pretty close for their own separate reasons. I was nonetheless intrigued by P.A. Dre being brought in to fully produce Dragon’s Breath.

“Never Fold” featuring Raekwon, Sauce Money & Skyzoo after the “Dragon’s Intro” finds the quartet over a murderous boom bap instrumental talking about their refusal of backing down whereas “H.E.C.T.O.R. (Hustle Everyday Can’t Trust Or Rely)” discussing the daily grind & trusting nobody. “Lighter Fluid” featuring Eto, Mickey Factz & RJ Payne links up over a venomous boom bap beat continuing to spit hardcore lyricism just before “Shaolin Rebel 2” hits us with a soulful sequel to the Chamber #9 joint.

Ankhlejohn & Brizz Rawsteen both pop out for “Between the Lines” soulfully talking about seeing the signs God’s trying to send you although Ankhlejohn had my favorite guest appearance of the 2 personally leading into “The System” taking a more intricately conscious approach topically. “Up At Night” featuring Peedi Crakk switches it up by showing a more sensual side to both of them which is alright, but “Day in the Life” soulfully talks about being thankful for every day because it’s a dream to him.

“1 of 1” featuring G4 Jag, KXNG CROOKED & M.A.V. comes together for an eerie boom bap cut filled with all 4 artists detailing their unique skills while “Flight School” reaches the halfway point talking about grinding for his own shine. “Burgundy” kicks off the 2nd leg of Dragon’s Breath incorporating guitars to not let Satan steal his joy while “Cold Case” featuring Gripz & Ransom jazzily yet dustily puts us inside the shoes of detectives.

Che Noir & Sa-Roc teaming up during “Divine Protection” was an exciting moment talking about aiming the firearm & blasting to protect what’s theirs while “Solitude” featuring BVNGS, Flee Lord & Hus Kingpin coldly flexes that they be rollin’ around the parts muhfuckas can’t even hit up. “Anointed” featuring 40 B.A.R.R.S., Bahamadia & 7xvethegenius fiercely demands everyone honors them like the royalty they are while “Possession” featuring Cappadonna & Hell Fire would’ve been more enjoyable without the latter.

“Funny Style” symphonically talks about muhfuckas acting weird hoping to catch him down & out while “Czariana Grande” by CZARFACE produced by none other than 7L boasts of taking over car speakers whenever INS Ya Highness & 7LES unite. The closing track “Explicit Material” also by CZARFACE officially sends off Dragon’s Breath spending the remaining 3 minutes having Esoteric accompanying Deck going full battle rap mode ahead of their upcoming collab album with Tom Hardy at the end of the month.

Exhibiting the razor-lyricism that’s made Inspectah Deck a cornerstone of the Clan’s entire 36 Chambers mythology, Dragon’s Breath acknowledges the connecting theme of his storied career from his Shaolin foundations to the comic-book-noir world of CZARFACE & back again. Excluding a select handful of mediocre features, I can appreciate one of the most technically gifted & underappreciated MCs in all of hip hop doing his thing over P.A. Dre production for this full-circle moment.

Score: 3.5/5

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