Ty Farris – “Timing of a Tarantula” review

Detroit veteran & Bars Over B.S. Records founder Ty Farris dropping off a physical exclusive 4th EP a week before Thanksgiving. Originally going under the moniker T-Flame being featuring on a lot of projects throughout the mid-2000’s until the very end of the decade, it was at that point where he started to put out solo stuff at a prolific rate by dropping 11 mixtapes, 11 full-lengths & his last 3 EPs. Standouts include the Room 39 duology & the No Cosign Just Cocaine series, the Machacha-produced Malice at the Palace & the Graymatter produced Sounds That Never Left My Soul. He just put out Enigma with an Attitude over the summer & is back with the Timing of a Tarantula.

“Gawd Mode Activated” is this drumless rap rock opener giving y’all the pain, the glory & everything that comes with it whereas “Trendsetter” gives off a mafioso vibe instrumentally talking about mixing longevity & high quality in addition to those tryna copy him when he’s building a monopoly. “Glass Joes” has a cloudy boom bap flare expressing his only concern now being the cash flow while the sample-driven “Venom in My Veins” talks his visions of living in flames.

Flames Dot Malik joins Ty on the piano boom bap joint “8 Eyes on the Paper” tryna maintain with 1 foot in the game each as they try to get paid just before a personal favorite of mine “Eat What You Kill” produced by Denny LaFlare keeps it in the basement suggesting that those thinking they better than him be mixing PCP in their blunts. “Top Rank” featuring Estee Nack aggressively reaffirms both of their statuses as lyricists & “Web of Lies” protects what’s his refusing to get involved with a network of deceit.

“You Bleed, I Bleed” featuring Rome Streetz reaches the final moments of Timing of a Tarantula with both of them hopping on top this crooning, drumless beat from Apollo Brown letting y’all know that it doesn’t even have to be this hard at all & asking why you can’t even see their stars while the closer “Heart of a Champion” finishes the EP by keeping the soul sampling in tact 1 last time flexing that he can simply email himself if he needs a raise.

For anyone who happens to love the conceptual street hip hop like some of Ty Farris’ previous releases, you’re gonna love Timing a Tarantula without question & it really might be my new favorite EP in his discography. His imagery makes sharp comparisons to the aptly named Theraphosidae family of arthropods & Divine Crime reveals himself as a future A&R that’ll be a force to be reckoned with over production balancing boom bap & drumless.

Score: 4/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

Boldy James – “The Bricktionary” review

Boldy James teaming up with Harry Fraud for his 9th full-length studio LP. Breaking out in the fall of 2013 off his Alchemist produced debut M.1.C.S. (My 1st Chemistry Set), the Detroit lyricist would later go on to land a contract with Nas’ independent label Mass Appeal Records for a little while before getting locked up. Once coming home, Uncle Al would help get his name back out there once getting out by dropping the Boldface EP around Christmas 2019 & then the sophomore album The Price of Tea in China. This was followed up with the Sterling Toles-produced Manger on McNichols which was as equally fantastic, but the Griselda Records-backed Versace Tape EP was a tad bit disappointing given how rushed it was. Bo Jackson though would become his most critically acclaimed work to date & Super Tecmo Bo was almost as great for an EP. Fair Exchange No Robbery produced by Nicholas Craven also became an essential until Penalty of Leadership surpassed it & Mr. 10-08 produced by Futurewave is up there too as is the Conductor Williams-produced Across the Tracks at the beginning of the summer, so I knew The Bricktionary would live up to my expectations.

“Pressing My Bunk” is this drumless opener promising that the new shit will make toes curl daydreamin’ of the big stage whereas “Rabies” featuring Benny the Butcher works in a guitar so they can rap about still trappin’ & having motion within the jungles. “Pillar to Post” takes the trap route instrumentally likening this shit to a vicious cycle feelin’ worn down just before “Speedy Gonzales” hooks up some sampling & hi-hats shakin’ the bag at record time

Tee Grizzley joins Boldy for the slick lead single “Cecil Fielder” getting on their authentic d-boy shit together prior to the chipmunk soul/trap hybrid “Ronald Bishop” talking about wanting people to stop calling him crazy. “Shrink Wrap” featuring Babyface Ray brings a cloudy trap vibe to the table flexing their dope game being as cold as it is while “Shadowboxing” hops over more soul sample chops & hi-hats sparrin’ with his demons.

“Harvey Grant” nears the conclusion of The Bricktionary by asking God to forgive him for his sins the evil in the hearts of men with a luxurious trap beat backing him, but then “Thuggin’” properly finishes the 3rd classic that Boldy’s put out this year soulfully admitting he’s got bad habits & furthermore explaining the moral of the story being that the 227 Concreatures were steadily cuttin’ them corners.

A lot like Penalty of Leadership & Across the Tracks respectively, Boldy James nears the end of what has been a prolific year for hip hop musically by going on a 3-peat in terms of releasing some of the very best music of his entire career. Harry Fraud’s production puts a bigger emphasis on the chipmunk soul undertones of its predecessors & throwing a hint of trap in the mix, allowing Boldy & his guests to spit game from The Bricktionary itself.

Score: 4.5/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

Ice Cube – “Man Down” review

This is the 11th full-length studio LP from Los Angeles emcee, songwriter, actor, film producer, CubeVision founder & BIG3 founder Ice Cube. The cousin of Del the Funky Homosapien & Kam, he started as part of the C.I.A. gained notoriety as a member of N.W.A until departing after their historic debut Straight Outta Compton. Cube later got his own Priority Records deal as a solo artist, teaming with The Bomb Squad for his own debut AmeriKKKa’s Most Wanted & later Kill at Will. Death Certificate went on to become another west coast hip hop landmark due to some of its racially & politically charged content, with his Lench Mob Records debut The Predator mainly addressing a lot of on racial tensions in the United States at the time. Lethal Injection was more g-funk heavy and the War & Peace double-disc effort marked the end of the former Westside Connection member’s Priority contract. Laugh Now, Cry Later distributed by Virgin Music & EMI Records was a solid comeback in ‘06 after mainly focusing on acting during the first half of the 2000s & then Raw Footage had it’s highlights although it was decent as a whole. I’m the West became his most negatively received body of work & the Interscope Records-distributed Everythang’s Corrupt showed to be an improvement although still average, so hearing Man Down would be a I’m the West sequel had me hoping it would be far superior to the original.

“Rollin’ at Twilight” starts with a trap intro that Cassius Jay laced looking to make highlights with his real ones whereas “It’s My Ego” featuring Scarface on the remix takes the g-funk route instrumentally thanks to E-A-Ski talking about giving a demonstration in front of the nation. “So Sensitive” was the weakest single of the 3 decently giving Cube’s take on gender & modern etiquette, but then Mount Westmore gets together for the funky pop rap banger “She’s Sanctified” with October London on the hook discussing women.

Nottz gives “Not Like Them” more of a traditional west coast vibe to the beat feeling like the world doesn’t make sense this day in age while “5150” aggressively talks about this bitch being crazy. “No Cap” featuring Ishadon has to be one of the most underwhelming moments despite the Zaytoven beat & the theme of everyone doin’ boss moves in a cesspool just before the industrial/trap crossover “3 Lil Piggies” talks about 3 cops.

“Ghetto Story” strips the drums completely finding his glory & doing it all for the streets to get his bag while “Facts” featuring J-D of Da Lench Mob finds the 2 reuniting so they can talk about mobbin’. “Fighting for My Life in Paradise” featuring Kurupt hops over a soul sample explaining how good it feels living the lives that they do while the boisterous “Let’s Get Money Together” featuring B-Real goes back & forth with each other as they make paper.

As for “I’mma Burn Rubber”, we have Cube going from 0 to 100 over a hyphy instrumental prior to the self-produced “Especially You” hooking up some prominent synthesizers talking about needing everyone to head for the dance floors. “Break the Mirror” featuring Xzibit links up the pair for a hardcore west coast heater pointing out that nobody wants the truth anymore while “Talkin’ ‘Bout These Rappers” takes a jab at wack MCs over a Lil Jon beat.

“Scary Movie” pushes towards the end of Man Down by tapping in with Lench Mob Records in-house producers Hallway Productionz promising that breaking your shit is certain while “Take Me to Your Leader” moves like an eagle looking regal on top of a vocal sample that David Banner provides. The closer “Ego Maniacs” featuring Busta Rhymes & Killer Mike wraps it all up with an insane sequel to “It’s My Ego”.

Laugh Now, Cry Later was probably the last Ice Cube album that I enjoyed consistently top to bottom & Man Down over 18 years later as a dedication for all his Day 1s improves on his few LPs since 2008. The more consistent production than some of his past recent material eclectically ranges from g-funk to hyphy, trap & drumless enlisting a tight list of guests to help reaffirm his status as a west coast veteran.

Score: 4/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

WRLD Tour Mafia – “Blood, Sweat, Tours” review

Detroit trap outfit the WRLD Tour Mafia consisting of Rafa, WTM Miles, WTM Re, WTM Solid, WTM Amex & WTM Bankroll coming with their official debut album. Originally forming in 2019, they dropped their debut mixtape World Tour Mafia or Die a couple summers later followed by Tourmania the fall after that, the Mob Ties EP. Tourmania II from this spring very much lived up to the predecessor, although founding member DaeMoney was kicked out early this summer due to scamming through Rafa’s independently owned Slam A Slut Records label. They’re however looking to move on by giving it Blood, Sweat, Tours.

“Rehersal” is this Detroit trap opener with some heavy bells flexing they’re still rockin’ trap houses when they should be rockin’ stages whereas “Space Jamz” works in some rattling bass & synthesizers to talk about being the type that always has a plan. “Lawyers (Accountant)” maintains the Motor City’s unique take on trap music making it thunder in the clubs now just before “Graduation” pulls up so the Mafia can get the load.

Meanwhile on “Zombie Files”, we have WRLD Tour boasting that they’re out here sippin’ ½-dead refusing to back down from a damn thing leading into “Pizza” feeling a little unfinished after letting the beat ride out for the final minute despite the subject matter of staying up late counting money. “No Complaints” hooks up some pianos & 808s offering to show y’all how to hustle rather than dancing ahead of “Primetime” talking about needing something real instead of fake love.

“#9” starts the other half of group’s full-length debut by heading for a cloudy direction marking WTM Bankroll’s sole appearance while “$cam $chool” talks about scamming, which is a topic that’s nothing necessarily new in this specific subgenre. Especially Teejayx6’s stuff. “Saved by the Bell” atmospherically discusses spendin’ $50k on Essence since they don’t fuck with malls while “B-S-T” talks about being really lit & knowing what they signed up for.

The song “I75” named after the major north–south Interstate Highway nears the conclusion of while Blood, Sweat, Tours promising those who can’t say they’re names again that they’ll get it the worst way if they end up doing so the penultimate track “VMA” talks about the idea of “if it ain’t broke, don’t fix it” except that certain people aren’t even doing it right at all on top of running back-&-forth between states. “Caveman Tourmix” ends the LP by declaring they’ll refuse to switch reppin’ the squad until the end.

These guys’ rise in the Detroit trap scene in the last 5 years & although both Tourmania mixtapes will always have a special place in my heart when comes to the group’s discography, their full-length debut overcomes all the highs & lows that come with the game proving that they all can very much hold it down without Slae. You probably already know what you’re getting yourselves into with the production but either way, the 5 remaining members still each have their own exciting characteristics.

Score: 3.5/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

Body Count – “Merciless” review

Body Count is a crossover thrash/rap metal band fronted by the O.G. of gangsta rap, actor, songwriter, producer & author Ice-T. Introducing themselves with an acclaimed posthumous debut, their next 2 offerings Born Dead & Violent Demise: The Last Days proved to be additionally well received although Murder 4 Hire marked their return after a near-decade long hiatus to mixed feedback. Manslaughter became Body Count’s strongest body of work since their debut, later resulting in Bloodlust & Carnivore maintains that consistency. Considering the steadily consistent output, the band’s 8th album had me anticipating it.

After the “Interrogation” intro, the title track starts us off on some rap metal shit talking about having only 1 life to live & 0 fucks left to give whereas “The Purge” featuring Cannibal Corpse frontman George “Corpsegrinder” Fisher embraces more of a death metal vibe drawing inspiration from the titular film franchise conceptually. “Psychopath” brings back the rap metal sound showing his psychotic tendencies leading into “Fuck What You Heard” dissing the Democrips & Bloodpublicans since he taught me both wings are on the same bird.

“Live Forever” featuring Howard Jones raps over more heavy metal production about the idea of immortality while “Do or Die” promises that no one is safe from the war that’s going on outside & that it’s either kill or be killed the way Ice-T sees it. “Comfortably Numb” featuring David Gilmour is a cover of the Pink Floyd track of the same name & religious beef prior to “Lying Motherfucka” blasting the United States president-elect Donald Trump.

Sepultura co-founder Max Cavalera joins Body Count for the song “Drug Lords” talking about the world we’re living in being in complete chaos as it is covering it all up using lies & schemes while “World War” talks about the possibility of World War III turning our own inner cities into battle grounds with the possibility of it all getting set off either next year or maybe tonight as we speak. “Mic Contract” finishes Merciless in the form of this 1 final rap metal joint wanting his muhfuckin’ money.

After persevering through personal tragedies along with social opposition & an army of naysayers, Ice-T & company emerges bloody but unbroken & with more rage than ever to the point where you can’t take any more & you’re done. The metal production is on par with their last couple Body Count offerings & the west coast O.G. himself doesn’t let up venting genuine anger through the iconoclastic lyrics.

Score: 4/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

Bobby J from Rockaway – “Higher” review

This is the sophomore effort from Queens emcee Bobby J from Rockaway. Coming up as a protege of Kwamé, he would begin to turn heads in the underground during the summer of 2019 off the strength of his full-length debut Summer Classics along with his Statik Selektah produced debut EP Endless Summer, the latter being my introduction to his music along with 1 Mic & a Drum’s eponymous EP. Bobby then joined forces with Detroit veteran Hush to drop the collab album 718 II 313 last summer, of which they had the honor of playing 80% of to me at a studio a year before it even dropped. Nef produced the Radio Days EP nearly 2 years ago & is tapping in with Dom Dirtee to take us Higher.

The title track starts with this otherworldly beat wanting to take it to a new level whereas “Once Again” takes the boom bap route instrumentally so Bobby can talking about being back up in this bitch with the hardcore composer. The 2nd single “Vibin’ (All By Myself)” gives off more a playful tone discussing the relatable subject matter of having fun by yourself in your room listening to music & after the “Mr. Walt Checks In” interlude, the lead single “Dangerous” lets their aptly titled mentality be known when facing them.

Paul Wall joins Bobby on the 3rd & final single “I Gotta” for both of them to go hard with their respective squads while “Outta This Club” tells the DJ to not stop playing this heater. After the “Tape Stand” skit, “Round N Round” makes their head spin over kicks & snares leading into “Get Away” passionately feels the need to escape. “Hello” nears the end agreeably saying he deserves more exposure & “Break Me Down” ends by refusing to crumble.

It’s already been 5 years since Summer Classics, but Higher comes off a couple EPs & group projects allowing him to elevate us with Dom Dirtee joining him in succeeding at that. Majik Ninja Entertainment in-house producer Fritz the Cat’s engineering is superb, Dom’s production reasserts his status as the hardcore composer & Bobby holds off from having any guests MCs unlike last time to snap for 36 minutes.

Score: 4.5/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

Tha God Fahim – “Dump Gawd: Hyperbolic Time Chamber Rap 2” review

Tha God Fahim enlisting Nicholas Craven for his 48th EP. 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 series, the Oh No-produced Berserko, 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. 5 years since Tha Myth Who Never Quit, we got a 2nd AND a 3rd installment last month. Coming off Dump Gawd: Hyperbolic Time Chamber Rap from last weekend, they’re dropping a sequel.

“Tha Unfathomable Horror” is this soulful intro promising that your wounds won’t ever heal & that he’s forever ill whereas “Shogun Jump” takes more of a chilled albeit hardcore route instrumentally talking about his legacy being set in stone calling himself the golden goose the litter. “Planetary Exploration” hooks up a prominent piano sample likening his raps to war & proclaiming himself as a scholar for dollars while “Planet Vegeta” keeps the keys in tact to talk about the game being watered down.

To kick off the other half of the EP, “Otha World” soulfully writes tracks of sorrow since he’s borrowing time & staying strong after losing loved ones just before “Onslaught” pulls a bit from orchestral music showing his steadiness with the aim. “Mad Life Menace” gets back on the chipmunk soul tip assuring he’s still a menace on the mic & “Hyperbolic Time Chamber Rap 3” finishes the EP with a jazzy installment of the titular song trilogy.

It wouldn’t even surprise me if Fahim dropped Dump Gawd: Hyperbolic Time Chamber Rap 3 next weekend or the weekend after since he’s dumpin’ nonstop in the last month, but he & Nicholas Craven continue to prove themselves as an unstoppable duo. A lot like the other 3 projects that they’ve put out in the last month, the latter’s production during the 20 minute experience is absolutely flawless & the Dump Gawd goes harder than he did last weekend.

Score: 4.5/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

Eto – “Long Way Home” review

This is the 7th full-length studio LP from Rochester, New York emcee/producer Eto. Learning of him through his verse at the end of the 6th installment of Westside Gunn’s infamous HWH mixtape series & eventually his DJ Muggs-produced full-length debut Hell’s Roof a few months later, this was followed up with Long Story Short as well as & Front Row & The Beauty of It. The Futurewave-produced Dead Poets would be as acclaimed as his debut & coming off Integrity 2 produced by Body Bag Ben which was a solid sequel the original EP itself, Eto’s taking the Long Way Home.

The title track has this unsettling atmosphere to the instrumental beginning by talking about the fact money comes a long way when you take the longer route back to the crib whereas “Purge Night” strips the drums completely alluding the titular series of films. The cutthroat “Yes Lord” featuring Flee Lord finds the RocAmeriKKKa duo getting in their hardcore bag lyrically prior to “Judas” produced by Chup finds him stuck at both ends of the pitchfork.

“New Money” hooks up a guitar sample thanks to V Don talking about that new paper coming in being speechless to him just before “The Light” featuring Tony Yayo seeing both artists over a boom bap instrumental from Nottz aggressively talking about how it got dark out. “No Pun Intended” featuring Kurupt cautions that neither one of them want any kind of trouble since the extended can extend in minutes & “Tearz” runs it all back up effortlessly.

Starting the final leg, Mephux brings a gospel trap flare to the table on “Oath” reflecting on when he used to play in the cold while the self-produced “3 Strikes” featuring Dark Lo & Nyce da Future jazzily refuses to make any kind of deal with the Devil going forward boasting they can go on for eons. The closer “Durnan” ties up the album refusing to share the proceeds choosing between a Desert Eagle or a box cutter.

Long Way Home isn’t on the same par of excellency as Dead Poets & Integrity 2 both were per se, nevertheless it still remains as an enjoyable offering from the Rochester lyricist & beatsmith. Yes the production on the last couple albums were more consistent, but Eto unquestionably sounds like he took his time with the verses & the brief amount of guests who join all match his level of lyricism finely.

Score: 3.5/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

Chetta – “Can’t Replace Me” review

New Orleans, Louisiana emcee/producer Chetta coming off one of his best LPs to date Sacrifice & Sabotage produced by $crim of the $uicideboy$ for his 21st EP. Starting out a decade ago with his debut mixtape Nino White, this was followed up with 18 EPs as well as 11 more tapes & a full-length debut, but gained significant attention off his G*59 Record$ debut Been Here Forever a couple summers back. Falling Off went on to be an equally dope prelude to Playboy, which also maintained the level of consistency as those previous projects since signing to G*59 as did Sick Bitch. 6 months after Sacrifice & Sabotage, he’s returning by declaring you Can’t Replace Me.

“Far Away from Okay” is this depressingly bleak self-produced trap opener getting on some emo rap subject matter whereas “OXY&ME” takes a cloudier route instrumentally talking about doing OxyContin chilling in the northside with the mob. “Mistakes Happen, That’s Why You’re Here” aggressively admits he’s tired of waiting asking what the fuck is up while “Pain 3:16” psychedelically gets too turnt up.

The song “Something Tragic” begins the other leg of the EP with a 2-parter addressing the familiar feeling of loneliness keeping it toxic & locked in prior to “Incubus” sampling “Adam’s Song” by blink-182 interestingly to talk about the drugs continuing to lift him even when he feels like he’s falling. “Apocalypse Now” ends Can’t Replace Me by talking about wanting to maintain this specific feeling forever without any worries.

Sacrifice & Sabotage still stands as my favorite offering in Chetta’s discography to come out in 2024 since it recaptured everything that made Been Here Forever the outstanding G*59 Record$ debut as it was & Can’t Replace Me continues to do the same. His own production sticks out on its own compared to $crim’s & he made his point clear as day in regards to his irreplaceable status on the label’s roster.

Score: 4/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

Maxo Kream – “Personification” review

This is the 4th full-length studio LP from Houston, Texas emcee & songwriter Maxo Kream. Breaking out in the beginning of 2018 off his debut album Punken following his first 4 mixtapes, this resulted in him signing to RCA Records for the sophomore effort Brandon Banks & of course Weight of the World that celebrated it’s 3-year anniversary last month. Some of the singles ahead of Personification however have become the best of his entire discography & I had to give it a shot.

The cloudy trap intro “Mo Murda” acknowledges that people start thinking you’re a part of the illuminati once you start making the amount of money that he does whereas “Fashitso” works in a flute from Cubeatz to talk about coming a long way from kickin’ doors down. “Cracc Era” featuring & produced by Tyler, The Creator references former SMW Tag Team Champion, WWE Tag Team Champion & 6-time WWE Hardcore Champion Al Snow prior to the sample-driven “Street Fraternity” explaining that you die for eternity once you join.

“Big Hoe Me” kinda has this atmospheric drill vibe instrumentally publicly admitting that he’s almost lost his life twice out in the streets until the fame while “Smokey” featuring BigXthaPlug links up over a Memphis-inspired trap beat from Hit-Boy making it clear they blasting you the next time you owe them. “Higher Than Ever” featuring Rob49 & Skilla Baby dabbles with Detroit trap boasting they real smooth, but then “Drizzy Draco 2” is a sequel to the Brandon Banks highlight.

Josh Kream joins Maxo on the moody trap joint “Walk by Faith” that Beat Butcha laced taking aim at TKO Group Holdings co-founder with individually self-booked runs as WWE Champion & ECW World Heavyweight Champion Vince McMahon while “Drop Top Impala” featuring Z-Ro sees them getting rich off vocals & touring globally. “Bibles & Rifles” is another standout from the Evilgiane instrumental to ask if he’d be forgiven or struck down for wishing death while “Talkin’ in Screw” featuring That Mexican OT remembers the late Screwed Up Click leader and chopped & screwed pioneer DJ Screw.

“Bang the Bus” reunites with Evilgiane again except they experiment with sample drill painting images of the gangsta lifestyle that he’s lived through for nearly 3 minutes & finally, the closing track “Triggaman” featuring Denzel Curry properly rounds out Maxo’s first offering in 3 years & the first in his discography since leaving RCA with both southern MCs over a trap beat ringing off an eerie atmosphere talking about letting the sticks off.

Upping the ante by imbuing it with a heady concept organized around the various ways he has presented himself on wax, Personification is pretty much Maxo diving into all of the themes presented by these different characters. Trigga Maxo, Punken & Emekwanem all get a chance to show what parts of him they represent whether it be the first being hardened by the streets & inspired by the swampy Southern goodness of Houston’s rap tradition, the other becoming more fond of nostalgia & simpler times or the final one discussing his responsibilities as a man & father.

Score: 4/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!