This is a brand new collaborative EP between Krizz Kaliko & Vin Jay. One is an MC, singer/songwriter & voice actor from Kansas City, Missouri notable for being one of the first people that Tech N9ne signed to Strange Music along with Kutt Calhoun and Skatterman & Snug Brim while the other is a New York rapper emerging in 2019 by releasing the single “Mumble Rapper vs. Lyricist” to widely negative reception. Krizz left Strange in the spring of 2021 following L.I.F.E. (Legend Immortal Forever Eternal) to form his own label Ear House Inc., making his 3rd EP Wrapped Up the inaugural release through his imprint. He & Vin Jay have been working closely have been working closely for the past, which resulted in Vin opening for Krizz on your & eventually Chop.
The title track is a decent trap opener produced by former Strange Music in-house producer MIKE SUMMERS a.k.a. 7 going back-&-forth talking about them teaming up so they can cut up anyone who wants to step up to them whereas “Champ” turns the bass up boasting that they’re bigger than everyone else. “Famous” then works in a vocal sample & hi-hats disregarding fame & Vin Jay saying there’s no debating he’s one of the greatest, except for the fact that his discography up to this point has been generally panned.
“Bussin’” starts the other half of Chop has another one of my favorite instrumentals on the entire EP swapping out the sampling from the previous track in favor of grisly piano chords & “B.D.E. (Big Dick Energy)” easily has to be my least favorite track here not because of the chaotic trap beat, but rather due to their take on the titular slang phrase coming off as corny instead of boastful. “Ball Out” finishes the EP with 1 more trap joint going on a high streak & Vin Jay calling himself a legend, which is true in the sense that “Mumble Rapper vs. Lyricist” is literally one of the worst singles of the previous decade.
Being a longtime fan of Krizz Kaliko ever since the Strange Music days, I’ve continued to support him ever since he left to go his own way as proven by how much I enjoyed Wrapped Up few years ago simply because he’s always stood out as a highly skilled MC & an undeniably captivating singer/songwriter responsible for penning some of the most memorable hooks in Tech’s discography. But Chop sadly marks a step down from the Wysh You Would collab album with Tres Aurland almost 2 & a half years ago. 7’s half of the production is more detailed than the other & Krizz’ performances are significantly stronger than Vin Jay’s.
Paris Hilton is a 43 year old media personality, businesswoman, socialite, model, singer, actress & DJ from New York notable for being the granddaughter of Hilton Hotels founder Conrad Hilton. She’s had numerous reality TV shows in the last couple decades, put out a full-length debut studio album Paris through Warner Records & shortly after was instrumental in helping launch the career of Kim Kardashian. There was even a point in time where she temporarily signed to Cash Money Records during the height of YMCMB’s popularity & is returning to the music scene for a sophomore effort.
“Welcome Back” is an electropop opener singing about her return to music after nearly 2 decades whereas “I’m Free” featuring Rina Sawayama fuses dance-pop, nu-disco, contemporary R&B French house & Brazilian bass tackling the theme of doing whatever they want with their lives. “Chasin’” featuring Meghan Trainor garishly mutates dance-pop, tropical house, afrobeats, dancehall, contemporary R&B & moombahton givin’ up on their exes prior to “B.B.A. (Bad Bitch Academy)” featuring Megan Thee Stallion obnoxiously crosses over dance-pop & hip hop schooling the baddies.
Sia joins Paris for the alt-pop, synthpop & electropop duet “Fame Won’t Love You” talking about fame not caring for people as much as a parent would leading into “ADHD” calling the neurodevelopmental disorder her superpower over dense, layered & compressed production usually coupled with a distinct fuzzy & warm low-frequency synthesizer style. “Legacy” draws inspiration from dance-pop again singing about making history with her current husband Carter Reum, but then “Stay Young” is this poppy house hybrid seeking eternal youth.
“Infinity” gets back on the electropop tip to sing about Carter’s love for her being heaven sent stopping the world when he put her over everything else while “If the Earth is Spinning” featuring Sia goes synthpop dancing within the Earth spinnin’ since it’s a new beginning. “Without Love” featuring Maria Becerra nears the end of the LP with a house-pop duet not wanting to live without love & “Adored” is an electropop closer expressing the feeling of adoration.
One of the things that I personally have always appreciated about Paris was Scott Storch’s half of the production on there since The Roots’ original keyboardist & former Aftermath Entertainment in-house producer’s extraordinary talent remains undeniable. For the follow-up, I like it less than the debut. Even if dance-pop & electropop vibes from the debut remain in tact except the contemporary R&B & pop rock undertones are swapped out in favor of synthpop & house pop, Paris’ vocals still haven’t improved whatsoever in nearly 2 decades.
This is the 6th EP from Brockton, Massachusetts emcee Madd Maxxx. A member of the Mission: Infect collective, he’s also released a few full-lengths along with a mixtape & his previous 5 EPs on his own, with the last LP being his 3rd album albeit Dirtcore Music debut Kaleidoscope becoming the strongest body of work he’s ever made thus far & he’s returning on his born day once again condensing Dirtcore 24 down to a 5 track 12 & a half minute offering preluding a future full-length in the future at some point I presume.
After the “Keep It Dirtcore” intro, the first song “Terrifying” produced by J Reno starts the EP shooting for a trap vibe instrumentally referencing WWE Hall of Famer, 14-time WWE world champion, 5-time WWE Intercontinental Champion, 3-time WWE tag team champion & the WME Group-owned TKO Group Holdings division’s CCO Triple H whereas “Diary of a Madd Man” switches into the boom bap lane taking aim at every juggalo rapper who thinks they can body him when he’s right. “Shinobi Stance” works in some synths as well as kicks & snares from Dirtcore Music founder Crossworm continuing to deliver hardcore lyricism while the closer “Rat Race” ruggedly talks about Dirtcore being the leaders of the hip hop zombie horde.
M:I just put out their magnificent comeback EP arM:Igeddon earlier this spring & not only is it my favorite EP of Maxxx’, but I’ll even argue it’s right behind Kaleidoscope from last year in being the 2 go-tos if you wanna get into Madd Maxxx’ solo work. Crossworm & J Reno both kill their respective shares of Dirtcore 24’s production & Maxxx refrains from having any guests joining him so he can hold down the lyrical side of things on his own, to which he succeeds at. Has me more intrigued about fellow Mission: Infect member Mumm Ra’s upcoming album albeit Dirtcore Music debut Autogod in a couple weeks.
This is the Grammy winning debut mixtape from Tampa, Florida emcee Doechii. Breaking out in the spring of 2019 off her debut EP Coven Music Session. Then following her next 2 EPs Oh the Places You’ll Go & Bra-Less, she went on to sign to Top Dawg Entertainment/Capitol Records in March of 2022 earning a spot in the 2022 XXL Freshman Class & releasing she / her / black bitch shortly after. However, she’s returning to make it clear Alligator Bites Never Heal nearly 14 months since appearing in the A24 Films drama Earth Mama.
“Stanka Pooh” starts the story backwards referencing the longtime Warner Bros. franchise Looney Tunes over a morbidly slow instrumental whereas “Bullfrog” goes full-blown boom bap with a bass guitar to talk about Twitter fingers getting your whole life logged out. “Boiled Peanuts” keeps the kicks & snares in tact maintaining a chip on her shoulder with the gang all here with her on a sunny day, but then the beat on “Denial’s a River” radiates a DJ Premier influence describing her rise in popularity in the last 5 years.
Moving on from there, “Catfish” maintains the hardcore boom bap sound referring to herself as the Ruler of the Swamp prior to “Skipp” shifting gears to trap territory ripping 25 crews quickly. “Hide n Seek” hooks up an atmospheric backdrop & hi-hats feelin’ hardline broke with nothing for her heart to hold just before the moody “Bloom” talks about finding her own place to grow.
“Wait” produced by Dylvinci ends the 1st leg of the tape on a cloudier tip advising that you should just eat what’s already on your plate & poppin’ since The Nanny aired on the Paramount Skydance Corporation-owned CBS while “Death Roll” brings a trap flare back to the table making it clear she got shit to prove with no time to fall back. “Profit” layers these hi-hats with a soul sample pledging allegiance to financial gain leading into DJ Camper giving “Boom Bap” a comedically drumless chipmunk soul vibe taking a jab at her critics.
Meanwhile with “Nissan Altima”, we have Doechii over a hardcore trap/pop rap hybrid telling everyone to increase their rates for her while “GTFO” featuring KUNTFETISH aggressively tells everyone to move out their way. “Huh!” shoots for a synth-based direction talking about being so 100 while the playfully subdued “Slide” discussing her man liking the way she grooves.
“Fireflies” nears the conclusion of Alligator Bites Never Heal with this cavernous 2-parter fed up with dudes calling her childish & pleasing to not be let down while “Beverly Hills” groovily talks her shit for roughly 3 & a half minutes. The title track lastly ends the tape with an acoustic/boom bap beat asking if you would dance for her even after hurting the feelings of this particular individual & the bonus cut “Anxiety” samples “Somebody That I Used to Know” by Gotye wiping the Sleepy Hallow version.
Even if I have ScHoolboy Q’s latest comeback effort Blue Lips above Alligator Bites Never Heal as my favorite TDE release of 2024, I highly enjoyed this mixtape more than her EP that I covered couple years ago. It’s a testament to her unyielding spirit & limitless creativity, additionally embodying her resurgence & reclaiming of power in the process letting everyone know she was born to be the predator.
Atlanta, Georgia recording artist Destroy Lonely returning for his sophomore effort. The son of former Disturbing tha Peace Records signee I-20, he’s released a total of 11 EPs since originally breaking out through SoundCloud in 2019 prior to Playboi Carti signing alone to his Interscope Records imprint Opium Records to surprise drop his last tape No Stylist in light of his ongoing tour with fellow label-mate Ken Carson last summer followed by the full-length debut If Looks Could Kill last summer. Another year passing & the most versatile Opium artist looks to remind us that Love Lasts Forever.
If you really think about it, “Forever” pretty much gets the ball rollin’ in the form of the title track telling us love as well as money & his particular lifestyle being eternal sampling All Saints whereas “Love Hurts” featuring Lil Uzi Vert finds the 2 telling us the downsides of romance going for an atmospheric trap instrumentally. “Luv 4 Ya” was a fine choice of a lead single waking up too rich while “Crystal Clear” goes for psychedelic approach admitting to not understanding that some of his homies ain’t here & bitches being unforgivable. The latter being odd considering the domestic abuse allegations couple months earlier & he responded by saying “hoes mad” & nothing more.
“Baby Money” moves on from there with an atmospheric trap flare to the beat flexing the newest nickname that he’s received prior to the quasi-pluggy “Say That” reuniting with Lone’s longtime collaborator Clayco telling it’s only life as opposed to a lifestyle of it’s own. The symphonic trap vibes of “Pimp Talk” happens to be a cool change of pace portraying himself as an actual pimp just before “Cadillac” shows off the 200 on his neck over a decent FNZ instrumental.
Nearing the end of Love Last Forever’s first half, “Syrup Sippin’” produced by Toom of Vanguard Music Group brags he got weed blowin’ strong similarly to that of a speaker & that he does in fact sip lean while “Lock In” talks about a bitch tryna skate all on his ice thinking she Frozone from The Incredibles trilogy. “Doubt It” refuses to a miss a single dollar further embracing the Baby Money persona, but then “Wish You Well” has one of my favorite beats on the album courtesy of Wheezy so he can talk about the legitimate trappin’ he does.
“Ship Her Off” once again portrays himself as a pimp droppin’ an entire check with his clothes refusing to switch up his flow reconnecting with Cxdy of Internet Money Records while “Honestly” opens up about a breakup wishing an ex-girlfriend of his was still here with him since shit’s been getting real & he’s been bigger than big lately. “Take a Trip” brings an energetic quality to the table getting in his young rich bag for 3 & a half minutes while “Extra High” talks about feeling safe once he’s higher than he normally is.
Meanwhile on “Amerika”, we have Lone over a somber trap sound making everything black & “Thrill” featuring Ken Carson reminds us of the strong chemistry between Opium’s first 2 artists. “About Money” starts the bonus track run making it clear he’s got his mind on the paper over rattling bass while the uncanny atmosphere of “No Worries” co-produced by Taurus shrugs off any concerns. “Pass Me the Keys” lastly closes shop talking about being high to the point where he shouldn’t be driving.
“The Bounce” officially starts the deluxe run rockin’ 5 star since stylin’ ain’t so hard for him over a cavernous trap instrumental from BryceUnknwn while the trippy “Make a Sound” talks about shawty fallin’ in love with Baby Money leaving $100s peakin’ out & his cross is upside down representing the Opium clique. “See You Tomorrow” cloudily sets out to pop a bottle & call up the models the next day since there ain’t no time for sorrow while “Meet the Boss” chaotically boasts that he doesn’t know another young dude out here like himself. “Bling” entrancingly shows off old school bling puttin’ on for the ’99 & 2000s paying homage to the Juvenile hit “Back That Azz Up” servin’ crack like the 80s named after the Cash Money Millionaires single “Bling Bling” off B.G.’s 4th & best album Chopper City in the Ghetto.
“Smoking” remains locked in with all his dogs rockstar trippin’ in a bassy, hallucinatory fashion while “Healing” turns the atmosphere back up referencing UFC Hall of Famer, the inaugural UFC Women’s Bantamweight Champion, 3-time WWE women’s world champion & WWE Women’s Tag Team Champion Ronda Rousey formerly of both TKO Group Holdings divisions. “Forgot My Name” hazily further continues expands on the theme of getting stoned while “LSD” with Y3rip energetically gets extra lit every single night without getting exhausted making bar mitzvah money. “Money Anthem” is a whole theme song dedicated to the bread wanting naysayers to say something leaving their main bitches mouth full unable to say shit & the physical exclusive “Bangaz” featuring Don Toliver otherworldly talks about liking the way their bitches twist their fingers. “Get Right” goes rage again standing tall & “Prettiest One” cavernously cops a Chanel bag for the prettiest bitches.
I’d like to start the final paragraph of this review by apologizing to all my Opium fans reading this because I’m well aware of the fact I’ve gained a following within their fanbase not too long after Anthony Fantano’s scathing criticism for my support of them & even if Love Lasts Forever has it’s highlights, I didn’t enjoy it as much as I did No Stylist or even If Looks Could Kill. It’s understandable the most versatile signing on the Opium roster would want to take a break from having Clayco produce a large portion of the LP since they have that Metro & Future chemistry, it’s that a lot of this production feels repetitive as a result.
Nails is an Oxnard, California grindcore band consisting of guitarist Shelby Lermo, bassist Andrew Solis, drummer Carlos Cruz & frontman/guitarist Todd Jones. Their 2010 debut Unsilent Death has become of the greatest albums in the extreme metal/hardcore punk fusion subgenre, landing them a contract with Sunn O)))’s independently owned Southern Lord Records to put out an acclaimed sophomore effort in Abandon All Life & later signing with Nuclear Blast Records a few years after that for You’ll Never Be One of Us. Nearly a decade of radio silence, Todd & company are returning on Every Bridge Burning.
“Imposing Will” couldn’t have been a better choice for an opening track mixing grindcore & metalcore having the effect of an urgency talking about no matter how deep it cuts, it’ll never be enough whereas the 1-minute “Punishment Map” brutality sets out to making people feel the way they make Todd feel. The title track explosively talks about the knife inside & the past being where there’s hurting just before “Give Me the Painkiller” fuses metalcore, grindcore, thrash metal, speed metal & stenchcore discusses a painkiller addiction.
On “Lacking the Ability to Process Empathy”, we have Nails going for a primarily metallic hardcore sound with additional elements of grind to talk about friends turning into enemies leading into “Trapped” going full-blown grindcore feeling stuck in a living Hell. “Made Up You Mind” continues the shortened song structures & a diverse palette of intense techniques calling out someone who isn’t in control, but then the skull-smashing “Dehumanized” discusses the idea of dehumanization.
“I Can’t Turn It Off” reaches the final moments of Every Bridge Burning addressing everyone who thinks that Todd’s a terrible person refusing to apologize for doing it his way & never compromising himself or the rest of the Nails for that matter & lastly, “No More Rivers to Cross” is this adrenaline-inducing 3 minute closer clarifying that he doesn’t see things the way others do wanting be left alone, pay his bills & die in his home.
Almost 15 years of cementing themselves further as the greatest grind band that the subgenre has seen in recent memory, Nails’ comeback effort makes it seems like they never even left in the first place because it’s their 2nd classic with Nuclear Blast & their 4th consecutively gratifying LP overall. They show everyone exactly how much they’ve evolved since the last time we heard from them taking their signature style & excellently fuse it with metalcore, crust punk, sludge metal, thrash metal & speed metal.
This is the full-length debut studio album from Atlanta, Georgia up-&-comer che. Starting as a member of the 4ersona collective under the original moniker murkio before settling on cheRomani+ & later abbreviating it. But it wasn’t until more recently where he decided to build a solo catalog for himself by putting out the debut EP 3 over a year ago & followed it up this past February in the form of X, which was supposed to be the original version of his 3rd EP Closed Captions over the summer which was a solid introduction to who he is artistically & personally. Crueger last Halloween showed more of a Chief Keef influence & is releasing Sayso Says with only less than a month left of summer.
“I Rot, I Rot” starts by hopping over an intergalactic trap instrumental from CXO talking about not needing any more new friends whereas “Saska, You Made It” turns the rage up celebrating his newfound success. “Pretend We’re Sleeping” encourages everyone to do their own shit working in some synths & hi-hats prior to “Get Naked” goes hypertrap again flexing his VIP status.
The message on “Enjoy Your Life” comes from a good place of heart maintaining the rage beats thanks to Ginseng telling his fans to enjoy their time here alive just before “Been There, Done That” has this bubbly hypertrap tone to the beat talking about doing it all. “Hex On My Chest, It’s Going Down” goes for a spaciously booming approach instrumentally advising to simply get through it & you’ll be ok leading into the energetic “Pissy Coffee” refuses to play games with anyone.
After the interlude, “It’s My Party & I’ll Die If I Want To” kicks off the other half of Sayso Says inducing more rage talking about not wanting peace anymore while “Don’t Tell No1” encourages people to come fuck with him over densely buzzing synth work with repetitive chord progressions & melodic synth leads. “Nunca Hacer Cocaina” incorporates a hint of digicore undertones speaking out against cocaine usage while “School Girl Sashimi” keeps the rage beats rolling talking about lust.
“Y.D.F.W.M.N.M.? (You Don’t Fuck With Me No More?)” whips up an ethereal trap banger calling out the people who switched up on him while the futuristic “Children Shouldn’t Play with Dead Things” wishes this bitch knew how he really felt. “Cut Off Your Hands” turns the bass up suggesting his girl should chop her hands off since she gives so much head & “My Favorite Color is Red” serves as a bombastic closer leaving blood everywhere.
Only a couple years in the game & I have no doubt in my mind that Sayso Says will take che to newer heights since it basically surpasses every expectation set out by his early EPs. His songwriting/performances are on par if not above Crueger’s last Halloween & I’d be reminded if I didn’t commend him for doing such an outstanding job self-producing a lot of it basing the LP’s sound primarily in the rage subgenre that he emerged out of.
Detroit, Michigan rapper & singer/songwriter Big Sean returning after 3 years to release his 7th LP. Coming up as a protege of Chicago icon Kanye West & signing to his Def Jam Recordings imprint G.O.O.D. Music, he generated some buzz in the late 2000s by dropping the Finally Famous mixtape trilogy, but it wouldn’t be until 2011 when his profile significantly increased when Sean dropped a 4th installment as his full-length debut. This was followed up the next year with the highly acclaimed Detroit mixtape & then a sophomore album the year after that entitled Hall of Fame. However, his next 2 full-lengths Dark Sky Paradise & I Decided. were both mediocre in comparison to all those past efforts. Now the last time Big Sean dropped a project was in late 2017 with Double or Nothing which had INCREDIBLE production from Metro Boomin’ top to bottom, but Sean himself was SEVERELY lacking. His G.O.O.D. Music contract was fulfilled with the surprisingly mature Detroit II & the Hit-Boy produced What You Expect? was better, but is coming back addressing some leaks over a month ago brushing off that it’s Better You Than Me.
After the “Pressure” intro, the first song “Iconic” that by BNYX of Working on Dying alongside Hit-Boy, Rogét Chahayed & Tom Levesque of Vanguard Music Group cooked up together starts us off on some trap rock shit flexing his icon status whereas “Typecast” takes the cloudy trap route instrumentally showing off the pimpin’ in his blood feelin’ like Jerry Buss in the arena. “Break the Cycle” featuring Uncle Charlie Wilson of the Gap Band on the hook has a funky boom bap flare that Leon Thomas III provides callin’ out those who believe more than what actually happened, but then “Who You Are (Superstar)” brings a triumphant trap vibe to the table calling his #1.
“Yes” was an mediocre 2-part trap single that FNZ helped put together with an annoying ass hook telling us the way he responds when muhfuckas say no just before “It Is What It Is” featuring Gunna picks things back up from the synth-trap beat from Turbo to the lyrics about how this is only as big as it gets. “Apologize” is a self-produced drumless open letter to Sean’s mentor Ye which isn’t surprising since Kanye talked mad shit about him in that 2021 Drink Champs interview & after the “Clarity” skit, “On Up” has an old school west coast sound that FF for Def Entertainment in-house producer KeY Wane brings to the table dedicated to his son Noah.
Meanwhile on “Something”, we have Syd of The Internet & originally Odd Future joining the Sean Don for a subdued trap/pop rap joint reminding the listeners that we all have our different bullshit that we’re each going through in our lives until Thundercat provides a psychedelic tone for “Black Void” being done with the disrespect. “This n That” featuring Bryson Tiller & Kodak Black ruins a heavenly Hit-Boy instrumental talking about taking psychedelic mushrooms & 1,000,000 Pieces” featuring Larry June likens their lives to a puzzle broken down to so many pieces over a mellowly dusty instrumental.
“Get You Back” featuring Cash Cobain gets into the sexy drill style that the latter sample drill pioneer has become known for in regards to his solo work with the help of WondaGurl talking about ex while “Certified” featuring the late D12 leader Proof’s son Nasaan vibrantly boasts their certifications in the rap game. After the “Focus” skit, “Boundaries” points out that time ain’t running out when it’s really life running its course while “Precision” was a decent trap/chipmunk soul hybrid.
As we approach the final moments of Sean’s first full-length outing since leaving G.O.O.D. Music, the official closer “My Life” finds KAYTRANADA backing Sean with synths & an outro skit “Happiness” that really should’ve been separated into a track of it’s own telling us he had to boss up & the bonus cut “Together Forever” makes me want The Alchemist to do an entire project for Sean in the future whether it be the gospel flip or the Detroit star saving some of the best lyrics for last.
Better Me Than You surges beyond the sentimental to embody something altogether more meaningful regarding the man behind the mic & I respect that he’s at a point in his life where he lets things happen when they’re supposed to happen, yet I didn’t enjoy it as much as Hall of Fame or Detroit or even the sequel & What You Expect?. All 4 of which are my favorites in his discography. Even if some of the production & guests falter, I can’t dismiss the newfound perspective.
Atlanta, Georgia rapper & songwriter Strick releasing his sophomore full-length studio LP after a few delays. Following his debut mixtape Risk=Reward & it’s sequel, this resulted in Young Thug signing him to YSL Records putting out 3 more tapes as well as the debut album Strick Land & more recently the 2Late 2Apologize. 21 months later, he’s at an All Time High regardless of YSL’s ongoing R.I.C.O. case & is ready to share it with the world as fall’s getting ready to start in 3 weeks or so.
The synth-driven “Chess Not Checkers” starts by singing about living like a star ever since signing to YSL whereas “Kisses Make Sure” featuring James Blake & Young Thug gives off an acoustic trap/pop rap vibe so the trio can tackle the themes of love. “Neat Freak” keeps the mellow trap production rolling flexing his current status while the cloudy “Cr@sh” featuring Travis Scott recalls the previous night where shit got too crazy.
“Lacrosse” moves on from there with 110 second trap cut talking about always keeping a stick on him just before “Nightcrawler” hooks up a stripped-back loop & hi-hats getting boastful lyrically. “Recipe for Love” featuring Future has a syrupy flare to the beat calling out their partners for doing them bad, but then “Party @ 4am” moodily talks about turning up in the early hours of the morning.
Meanwhile on “Fighter Jet”, we have Strick over another acoustic trap hybrid beating the odds letting y’all see for yourselves the way he’s living now leading into “Complete You” starting the 2nd leg of the album on the melodic pop rap tip. “On Your Line” intoxicatingly keeps the subject of romance in mind while “Come Alive” featuring 6LACK fuses trap, pop rap & R&B talking about their partners being enlivened during sex.
“Higher Living” serves as this lavish ode to living better while “Vase” produced by ATL Jacob atmospherically tells everyone listening to not let the fast life change you whatsoever. “Voice & Laugh” samples soul music throwing hi-hats into the equation learning a lot about loyalty & missing his ex while “ILY.” hops over a crooning beat talking women & people stealing his style.
Nearing the conclusion of the LP, the penultimate track “Slurricane” goes off-the-top for little over a minute telling his new bitch that he can get her in the mood & he isn’t anything like her previous man in any way shape or form while “Point Proven” ends the album talking about being a rockstar over a horn-laced trap beat.
YSL’s output in last year or so has been extremely hit or miss & I actually happened to enjoy All Time High more than Gunna’s last 2 post-incarceration efforts A Gift & A Curse and One of Wun combined. Mainly because it’s produced better, the guest-list is stronger than Strick Land almost 3 years ago & Strick himself lets everyone know where he’s at in his life currently.
Brooklyn, New York emcee Josiah the Gift returning 6 & a half months after The Glorious Si’s eponymous debut to release his 6th solo LP. Starting out in the late 2010s by releasing his first 2 EPs Jack Johnson & Raw, he later broke out within the underground back in the summer of 2020 off his acclaimed debut album Iron Mic. His profile continued to elevate with the debut mixtape Remain Raw, the sophomore effort Mightier Than the Sword as well as the sequel, the True Cipher-produced TOGO & his previous album God’s Gracious. A year & a half after the lagger, the Gift of The Umbrella is returning to speak that Lavish Language.
“Rep” starts us off with an orchestral beat talking about the reputation proceeding, elevating & focusing on his goals demonstrating whereas “Hommy” works in some background vocals suggesting that you should lay low if you catch a body because the case will be closed if they find it. “Wolvez” embraces the boom bap sound instrumentally letting everyone know who y’all be fuckin’ with prior to “Mulsanne” maintaining those kicks & snares refusing to introduce himself since they should know by now.
The guitar/boom bap hybrid “Take II” finds him evening out the butters wondering where all his homies stumbled at musically & his mom being out in the streets during the 80s, but then the exuberantly dusty “Karhu Sneakers” talks about never disrespecting him since he the reason people even on the guest list showing off his kicks from the titular brand. “Florence Cathedral” featuring HooksArthur samples soul music wanting their flowers givin’ ‘em love just before “True Story” takes it back to the basement instrumentally talking about being the one you can call for peace.
“Lavish” featuring Bless Picasso takes a funkier approach to the beat comparing the chef in the kitchen that’s cookin’ up the drug supply to Guy Fieri additionally suggesting that root of evil is necessary & love being secondary while “Patra” returns to the boom bap telling the story of a homie of hos who ends up getting shot to death. “The Glory” rawly talks being satisfied with life even though he’s not a millionaire while “You’re Gonna Die” strips the drums details another homie that’s moving with no fear of death.
Pushing towards the final moments of Lavish Language, the instrumental on “The Filth” sorta gives me a capacious vibe pointing out the fact that everyone comes from nothing on top of being tired of seeing others strugglin’ or his mind still being wired to hustlin’ that is until “The Chosen” ties up the LP soulfully feelin’ his spirit leaving him fantasizing of owning Benz’ & jet skis seeing one’s future in different directions.
5 years in the making damn-near & what Josiah the Gift presents to us here stands out differently than what he’s done previously, joining Iron Mic & The Glorious Si album as one of the 3 essential standouts in his discography. Bishop cooks some of the most thorough beats of his career, the 2 guests strongly contribute to their verses hold their own weight & Josiah’s performances maintain the laser-focused hunger of both full-lengths I mentioned earlier.
