Wiz Khalifa – “Wiz Owens” review

Pittsburgh, Pennsylvania rapper, singer/songwriter, actor & entrepreneur Wiz Khalifa preluding Kush & OJ 2 with his 22nd mixtape named after California fashion designer Rick Owens’ main line. Following his first 2 albums Show & Prove and Deal or No Deal as well as his 8th & 9th mixtapes Kush & OJ and Cabin Fever respectively, his Atlantic Records-backed 3rd album Rollin’ Papers established him as a star & stoner’s icon as did the Mac + Devin Go to High School film & soundtrack. Taylor Allderdice would also receive acclaim, although a lot of what he’s released since has been hit or miss with the biggest hits being Fly Times: The Good Fly Young & the Stoner’s Night collab tape with Taylor Gang Records signee & Three 6 Mafia co-founder Juicy J from a couple years back.

“Jet Lag” starts off with a jazzy beat, a flow similar to Max B talking about wanting the whole stash instead of going 50/50 & even a missed opportunity of not putting Curren$y on it whereas “Crispy T” featuring Sosamann & produced by Sledgren who did most of Wiz Owens takes the futuristic west coast route instrumentally in the vein of Larry June flexing his pack too loud getting everyone lifted. The “Uhh!” adlibs at the beginning of “Yellow Diamonds” & really throughout the tape feel bitten from No Limit Records’ heyday in the late 90s promising that he’ll show y’all too it that is until “1200 to Smoke” delves further into that west coast sound getting on his stoner shit.

Young Deji & 24hrs join Wiz for the final verse & the hook of “Gym Getting Fine” respectively blending luxurious trap & pop rap in a tacky fashion outside of an A24 Films reference leading into “Early Mimosas” giving off a summertime vibe unsure that he can trust this bad bitch he knows. “Innit” throws it back to “Like a Movie” from Deal or No Deal with the sax sample at the start assuring going trap again to end the first half of Wiz Owens talk about everything in his life being good at this point especially if the weed’s lit, but then “Movie Role” laces his vocals in monotonous auto-tune over synths flexing that this be his actual life.

“When I Was Young” gives off a cavernous trap flare to the beat finding out in his youth that you have to stick to your plan if you even got one while “On Bro” draws inspiration from Three 6 Mafia with it’s instrumental being fried like France & eyes like Japan. “PTSD” is a jazz trap fusion talking about people wanting him to come back when he hardly left while “Dream About You” reuses Ice Spice’s flow sampling “Complicated” by Nivea. “Smoke Break” ends luxuriously welcoming y’all to the private yacht club.

Unfortunately as much as I love Sledgren as a producer & the fact that he did 10 of the 13 tracks on Wiz Owens is amazing, the tape unfortunately gets dragged down by bad mixing as well as only a few underwhelming guests & even the performances from Wiz himself feel flat a lot of the times. Kush & OJ next to Taylor Allderdice are the best tapes in his discography, so I really hope he comes correct with Kush & OJ 2 since the original is held to such a a high standard in his discography.

Score: 1.5/5

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Jakesand – “Sandbox” review

This is the 2nd EP from Michigan producer Jakesand. Releasing his debut EP El Fureidis in the summer of 2018, he has since become an in-house producer for Lando Bando’s own EMPIRE Distribution imprint The Hip Hop Lab Records working with some of their biggest acts from the ShittyBoyz both as a group & as solo artists to $weet-T & Prince Jefe. 6 years later, he’s making a comeback & putting out Sandbox through the biggest Detroit trap label out amassing what looks to be an immensely promising list of guest performers.

“Motion Picture” by Babytron co-produced by Danny G references WWE Hall of Famer, 7-time WWE Women’s Champion & former WWE Hardcore Champion Trish Stratus while “Business” by Lil P might be the only track I don’t care for despite the rich Detroit trap instrumental. “Jonah Hex” by J1Hunnit has a witty bar referring to the Paramount Skydance Corporation subsidiary NBCUniversal-owned Shrek franchise while “100 Routes” by Stanwill talks about having 100 methods.

Tony Shhnow surprisingly has his own song with “Sell a Dream” boasting that he’s in love with the money & wakes up every morning with the intention of making more of it just before “Pints, Pills, Prescriptions” by Babytron, Fordio & MJPaid finishes up the Sandbox experience with all 3 members of the Dog $hit Militia trading brief verses with one another & everyone holding their own weight.

Between this & the El Fureidis EP, it’s no debate from my perspective that Sandbox is the best solo offering that we’ve gotten from Jakesand thus far. I’m confident that we’ll be getting a sequel to it at some point sooner rather than later because his production as strong as the predecessors, except there’s more consistency from the guests who’re performing over his Detroit trap beats.

Score: 4/5

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Gordo – “Diamante” review

Gordo or formerly known as Carnage is a 33 year old Guatemalan American DJ, producer & former rapper breaking through the mainstream in the fall of 2015 off the strength of the festival trap full-length debut Papi Gordo. He further established himself forming the duo Young Martha with Young Thug, putting out an eponymous EP nearly 23 months later. Battered, Bruised & Bloody mainly explored trap music as a subgenre to mixed reception & Carnage subsequently became Gordo after transitioning from trap to techno & house. Further cementing his artistic reinvention, he’s coming back 6 years following the sophomore effort for his 3rd album.

“Guard Down” co-produced by &ME & featuring additional vocals from Alice Aera begins by venturing out into the latter’s signature deep/tech house sound for nearly 6 minutes whereas “Sideways” by Drake is one of 2 leftovers from the Honestly, Nevermind sessions admitting to this woman that he used to love her when she was never hers to begin with. “Honeyland” featuring additional vocals from Afshin Momadi moves on from there with a cool afro house detour for nearly 4 minutes, but then “Easier” puts a bigger emphasis on the tech house side of things instrumentally with the help of Rampa.

T-Pain on “Target” has to be one of the best guest performers during the entire LP singing over a house beat with the pitch of his vocals being slowed down that he got a big target on his back even when he’s in motion that is until the out-of-body experience “Lake Como” disappointingly doesn’t have Larry June rapping at all, instead providing additional vocals throughout the playful instrumental. “Candid Zone” by Leon Bridges has a funkier house flare feeling quite rather frank him just before “Nene” by Fuerza Regida gives the corrido tumbado band shine showcasing their sierreño/trap style in front of a wider audience.

“Cafecito” by Nicki Nicole & Sech decently blends Latin pop & reggaeton with house music all together professing their love for one another dating back to when they were children starting the 2nd half of Diamante while the 2nd single “Parcera” by Maluma unpleasantly mutates tech house, balearic beat & tropical house talking requesting that the light be turned off. “Hombres Y Mujeres” by Feid was a superior tech hip house choice of a lead single in comparison to the previous cut talking about the rich smelling if there are men & women while “Kill for This Shit” featuring additional vocals from the late Young Dolph couldn’t have been a better Memphis/house crossover.

The tech house influences make their way back in the spotlight for “Take Control” advising one on the verge of leaving to do literally that on the way out while “W.D.Y.M. (What Do You Mean?)” by Karolina Falk sings about being the same as previously over a guitar/house hybrid. “Aura” by NTO clashes elements of house & techno telling people to take a 2nd look inside themselves & the inspirational “Healing” by Drake has to be my favorite appearance of the 2 that he makes singing that he doesn’t want to hurt himself anymore.

Of the 3 solo efforts that Gordo has given the world under his belt in the span of almost a decade, Diamante consistently celebrates his heritage significantly more than the previous couple LPs did. So much that I can say what we have here unquestionably stands out as his most personal album in his discography yet. He mainly keeps it in afro house/amapiano turf occasionally pulling from contemporary R&B, tech house, hip house, balearic beat, tropical house, deep house, hip hop, pop, reggaeton, corrido tumbado, jazz & indie music for a dedication to his grandmother narratively centering it around his Nicaraguan-American roots.

Score: 3.5/5

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Coyote – “L.Aliens” review

This is the sophomore full-length studio LP from Los Angeles, California duo Coyote. Consisting of the Morales brothers LadiesLoveGuapo & Ricky Blanco, they went on to gain traction in late 2022 off their debut album Thicker than Water noted for its witty punchlines & East coast influences. However, their official follow up a year & a half later L.Aliens is quickly becoming their breakout project to the point where people were recommending that I give it a shot & I was more than willing to since the tracklist looked promising.

“Pop the Trunk” kicks the door down as hard as possible with it’s boom bap production & hardcore lyricism reminiscent to the 90s whereas “3 Lokos” featuring fucking Shaquille O’Neal works in more kicks & snares feeling reminiscent to Havoc’s production throughout Mobb Deep’s timeless sophomore effort The Infamous… talking about all 3 of them being psychos. The instrumental on “Pocho” featuring MC Magic feels like something Tyler, The Creator would’ve made during the Odd Future days & I mean that as a compliment as someone who’s been down with him since that era showing off their Mexican heritage & “Tryna Get High Foo?” featuring B-Real is a boom bap-heavy smoker’s theme.

Moving forward with “LA LA Land”, we have LadiesLoveGuapo & Ricky Blanco venturing out in trap territory telling us what it was like for them going up in the City of Angels prior to “D.U.I” featuring SUCKERFREE104 hooking up bells as well as kicks & snares to talk about having too much to drink & pullin’ up on your bitch with the roof off under the influence. “Buck 50” swaps the bells out in favor of sampling asking if you really walk it like you talk it with your chest out while “Do You” puts a psychedelic spin on trap dropping flexing on everyone else in the underground.

Shady Records signee Westside Boogie coming fresh off opening for Kendrick Lamar during his Pop Out concert at the Kia Forum last night uniting the west coast since the deaths of Kobe Bryant & Nipsey Hu$$le joins Coyote for the syrupy “House Party” further exemplified by the chopped & screwed hook repping Los Angeles & Compton respectively leading into the soulful “Pushin’” featuring Doeman keeping it playa & positive. The trap-flavored “Wadadabang” featuring The Game & Lefty Gunplay gets on their gangsta shit, but then “Devil’s Contract” fuses g-funk & boom bap going horrorcore.

“Letter to God” sees the Morales brothers hopping over an apocalyptic drill beat sending a message to the Higher Power just before “Drugs Bunny” returns to the boom bap drawing inspiration from Daringer instrumentally hilariously dissing Bad Boy Entertainment founder Puff Daddy a.k.a. P. Diddy or Diddy for assaulting Cassie & being a grown man acting like a bitch. “Note to Self” embraces the trap sound once more assuring that the repercussions will be worth it while “Cheers” takes the cloudier route explaining that you either in it or you ain’t.

Meanwhile, the bouncy “Splash” talks about how they’ll treat you like the rest determining your value by who you think you are elevating instead of staying down while “Blanco the Blizzard” marks a return of the Griselda boom bap vibes discussing fame & attention being the cons of popping off dressed in a whole Gucci fit. “Hunger Flow” featuring Justin Credible keeps the kicks & snares tightened getting murderous while “Quema Quema” goes full-blown Latin trap.

“Rings” enlists Shaq on the mic 1 last time nearing the conclusion of L.Aliens providing a jazzy trap fusion treating hip hop like a sport when it really ain’t no game & “Busca La Muerte” serves as a 2-minute Latin closer talking those that seek death. “I Swear to God” begins the deluxe run drumlessly guiding lost souls while the cloudy trap joint “Chingasu” shows off a more carefree attitude from the duo.

The aggressiveness of “This Ain’t What You Want” fits the horn heavy sound as they caution everyone who wants smoke with them that they really don’t while “Poplock” featuring Hoodlum experiments with the Memphis scene painting imagery of the gangsta lifestyle while “Brown Boys Rollin’” finds them rollin’ through the hood & being misunderstood as Mexican-Americans.

“Rest of Yo Life” smoothly refuses to wife up any woman who’ll give them children & no wedding rings while the boom bap “Onyx” talks trying to live & drugs ruling everything around them. “New Era Cypher” featuring Rowdy Racks continues to show some Mobb Deep inspiration from the beat to the aggressive lyricism from all 3 of them while the sample-heavy “1 More Time” looks to spin the block if they don’t get ‘em. The final bonus track “Afraid of Losing You” ends the deluxe with a shot at R&B & showing vulnerability in the process.

In comparison to Thicker than Water, the Morales brothers’ sophomore effort here takes them to a whole new level as one of the hottest up-&-coming groups in the west coast hip hop scene. The production goes from boom bap to trap, jazz rap, cloud rap, Latin music, southern hip hop, soul music & even psychedelia turning the punchlines up to 11 & invite a pretty tight list of guests along with them for the ride. It’s also cool that they show their influences & put their own spin on the styles they culminate in a melting pot.

Score: 4/5

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Ty Fontaine – “Ascension 2” review

This is the sophomore full-length LP from Maryland recording artist Ty Fontaine. Coming up in 2019 off the strength of his debut EP Waiting on Ascension, he would go on to follow this up with the full-length debut We Ain’t the Same alongside a couple of mixtapes & 3 more EPs, the previous being The Revive preluding a sequel to his Internet Money Records-backed debut mixtape Ascension & more recently Black Truck Life last spring. He signed to MNRK Music Group for his 7th EP 264 the previous winter & is back for a follow-up to the tape that got him where he is today.

“spotlight” spaciously starts Ascension 2 addressing a woman he’s addicted to but not committed to whereas “ash kash” keeps the synths in the fold treating every diamond on his body as if they’re trophies. “gotham” calls himself a Martian looking at every experience being priceless like it came from an auction over a rage-inducing beat from Devstacks leading into the trap-flavored “computer s3x” talking about having the same crew as he did when he first emerged on the scene.

Things take a cloudier turn instrumentally on “what’s life, to waste it?” explaining that his dreams are way too big just before “Adventure Time (racks on my body)” hooks the synths back up to talk about being unable to worry about shit since he loves the finer things in life. “alleviate depression” describes the jadedness of the land where everybody’s somebody over an psychedelic trap beat that Cubeatz & SADPONY co-produced, but then “parlay” has a moodier sound overall telling his partner she knows what it is.

“doin’ damage” flexes the Ben Franks in his pocket over more synthesizers & hi-hats accompanying him while the woozy “studio junkie” talks about being unable to sleep for 3 days straight since he’s been in the lab cooking nonstop. “only 1” tells this chick he’s the guy she should be spending time with a peaceful instrumental backing him while “it gets better” intoxicatingly discusses brighter days. Vendr provides “don’t give up on me” a rich backdrop pleading for his lover to stay & the heavenly “rolling” ends the LP not wanting to feel his face.

To begin the deluxe run or Act II officially, “lift your head up” encourages everyone listening to keep their guard on some euphoric trap shit while “raw dawg dippin’” mixes these horns & hi-hats together talking about thuggin’ as of late. “downer” has a peaceful trap approach generally reassuring everyone that he’s still doing his thing out here even if they gon’ try him every time while the bubbly trap joint “knee high” that FNZ & Cade laced admitting her love feels like everything is anything.

“rave girl” is a cloudy start to the other half of Ascension 2’s subsequent act talking about getting romantically involved with the titular kind of women while the trap-rock flavored “dead or alive” promises that they’ll remember him making it out. “I Never Wanna Wake Up” expresses his desire to stay in his dreams & Rio Leyva helping him stick to a cloudy trap sound while the synth-trap hybrid “i say, you say.” let’s this woman feel his energy. “Imagine 2” is a sequel to a highlight track off Ty’s debut EP Waiting on Ascension & the final bonus track “Save Me” featuring tana ends by addressing those who envy him making it.

Ascension has to be my favorite thing that Ty has ever done & frankly, the sequel here lives up to the bar that the predecessor set 3 years ago surpassing every single thing he’s done since. The production is just as fun as Internet Money’s was when they helped introduce Ty a few summers back & he manages to deliver some of his strongest performances & songwriting in quite a while. Maybe even of his entire career.

Score: 4/5

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Grafh – “God’s Timing” review

Queens, New York emcee Grafh linking back up with 38 Spesh for his 4th LP. Coming up in 2003 off his debut mixtape The Bang Out, he went on to release 7 more tapes before dropping his first full-length album Autografh only a few years later continuing that with a total of 10 mixtapes & an EP. The sophomore effort Stop Calling Art Content produced entirely by the late DJ Shay & released through Benny the Butcher’s very own MNRK Music Group imprint Black Soprano Family Records as well as his TCF Music Group debut Art of Words would become his most acclaimed material to date, so I didn’t expect less going into God’s Timing.

“Language” begins by jazzily calling out those who ain’t gang like they say they are whereas “Fight for Love” featuring Method Man takes the soulful boom bap route instrumentally getting in their hardcore shit lyrically. “Rock, Paper, Scissors” featuring 38 Spesh himself displays a back-&-forth chemistry between the 2 accompanied by a rugged beat just before “Roc-A-Fella Chain” featuring Freeway, Memphis Bleek & Peedi Crakk turns the jazz rap influences up paying homage to the Roc La Familia Dynasty.

Papoose joins Grafh for the grimy “Straight Shooter” reminding that you’re either legit out here or you’ve never had any losses whatsoever leading into “Take Risk” featuring Dre Island & Vado aggressively explaining that one has to take risks out where they from. “Glory” featuring Wretch 32 has possibly the weakest hook on the album despite the mature subject matter, but then “Remember Who You Are” featuring Jim Jones incorporates an organ talking about staying true.

“Coolin’” has a slicker vibe to the beat providing a calming & charming smoker’s anthem while the groovy “Poetry” touches on raunchier subject matter. “Right Now” featuring Talib Kweli returns to the boom bap not giving a fuck if the radio plays them due to their nasty styles while the rhythmically produced “Bullet Proof” featuring Don Paul & Dope Gang Porter talking about running this shit. “Give Praise” featuring Spesh again ends the LP with a dusty gospel flip talking about giving praise to God.

Even if I came away enjoying this a little less than I did Stop Calling Art Content & Art of Words, I can still say that I enjoyed a good amount of what I heard & hope that Spesh continues working with Grafh as much as possible. Only a select few of the guests miss the mark, but most of them throughout God’s Timing stick the landing & match Grafh’s level of penmanship scored by the mostly traditional boom bap production that made Spesh as big as he is of a beatsmith in the underground.

Score: 4/5

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Valid – “Peach Brandy” review

This is the 3rd full-length solo LP from Detroit emcee Valid. Introducing himself properly in 2015 with Reach High, he would follow it up in 2019 getting more personal on the sophomore effort Mihajlo which I personally would recommend to anyone as the best place to start for anyone who wants to get up on Valid’s music & eventually the Plum Brandy EP only 9 months later. He would go on to make an entrance theme for the current WWE NXT Champion Ethan Page during his AEW run, later forming Bill & Isiah with Stretch Money over a year ago & putting out an acclaimed eponymous debut. Only 5 months since his debut mixtape The Bronko Tape, we’re now being treated to Peach Brandy as the main course.

“Peach Killer” is a classy boom bap opener to the album talking about letting the cosmos control his destiny whereas “There He Is” works in pianos along with more kicks & snares referring to himself as the motherfucker that those doubted most. “1 of a Kind” kinda has a jazzier boom bap quality to the beat so he can talk about the life he living ain’t like anything else just before “Places” hooks up a solemn sample setting out to reinvent in the renaissance city.

Bill & Isiah link back up for “9 to 5” hopping over a vocal flip to brag that it be looking like they selling dope when their music careers are taking off in actuality leading into the celebratory “May 6” talking about how his circle wasn’t even supposed to make it & engaging in a gangsta ass tradition. “Never Question” goes into pop rap territory tackling themes of romance, but then “The One Who Decides” brings some strings in the picture & some of his most captivating storytelling yet.

“Plush” featuring Boog Brown gives off a more playful tone aesthetically encouraging everyone to put ‘em up high while “Sci-Non-Fi” turns the jazz influences back up confessing that he feels like he’s in a weird place making it look like he in space. “Cigareta” featuring Jon Connor & Philmore Greene returns to the boom bap reminiscing as they smoke up remembering those who can’t be here while “Stara Škola” featuring BARS, Frenkie, Ghet, LD Pistolero, Random & Struka comes through with a Serbian hip hop posse cut.

Starting the encore of Peach Brandy, the song “Nirdala” groovily talks about everyone chasing cash & success in the the midst of the never-ending battle between good & evil while the penultimate track “This Day” blends vibraphones along with kicks & snares trying to stay optimistic even when he isn’t in the best place mentally. “Graycious” lastly ends the LP with a bit of a west coast homage from the funky instrumental to the Zapp-inspired background vocals feeling gracious.

In case you didn’t know, everything that made Plum Brandy the heartfelt EP in Valid’s discography showcasing his Serbian roots with a heavy amount of ex-Yugoslavian samples makes it’s way onto Peach Brandy & even taking it a step further than the predecessor a month before the 2020 COVID-19 pandemic. The concept of his Serbian heritage is being re-explored in a bigger, full-length capacity allowing himself & the producers to do more with the cards that’re dealt in comparison to The Bronko Tape’s raw homage to Bronko Lubich.

Score: 3.5/5

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Ice Spice – “Y2K!” review

This is the 2nd EP from Bronx, New York rapper Ice Spice. Growing up with a hard knock life at the Hudson Street Orphanage ran by Agatha Hannigan & later being adopted by Oliver Warbucks (kidding), she grew up to pursue a music career in 2022 after uploading a couple viral music videos & landing a Capitol Records contract. Drake eventually flew her out to join him at OVO Fest not too long after & unfollowed her on Instagram rather quickly once the festival concluded, with him calling her “a 10 trying to rap” & that her music is “good on mute” on the highlight track “BackOutsideBoyz” off their collab album with 21 Savage later that fall Her Loss. Ice Spice’s debut EP Like…? a year & a half ago was greeted to mixed reception & is looking to make a bigger breakthrough on Y2K!.

“Phat Butt” was a mediocrely experimental hardcore New York Drill opener sampling “Oh I Think Dey Like Me” by Dem Franchize Boyz talking about women biting her flows & poses whereas “Oh Shit” featuring Travis Scott takes a bouncier drill route instrumentally courtesy of Internet Money Records in-house producer Synthetic so both of them can look to turn up the spot. “Popa” dabbles a bit into rage territory to talk about getting super lit out here since she from the trenches, but then “Bitch I’m Packin’” featuring Gunna fuses drill & hypertrap explaining they got what they need.

Finishing the EP’s first half, “Plenty Sun” goes for a futuristic drill approach explaining that she don’t know how to do shit leading into “Did It First” featuring Central C produced by Nico Baran fusing Jersey Club & cloud rap addressing themes of infidelity. “BB Belt” murkily declares herself as Ms. Poopie even though she doesn’t smell while “Think U the Shit (Fart)” swaps out the trillwave elements in favor of Miami Bass & new jazz courtesy of venny belittling her competition.

“Gimme a Light” nears the final moments of Y2K! with an underwhelming crossover between sample drill & dancehall flipping both “Gimme the Light” by Sean Paul & “Hazard Lights 4” by Blockwork featuring ShotBy O.A telling them to pass the dro to her prior to the bell-driven closer “T.T.Y.L. (Talk To You Later)” going out for the paper from the very moment that she first wakes up in the morning.

Starting the deluxe run, “Gyat” is a Jersey Club rap joint telling the haters to back up & the baddies to throw their asses back while “Hannah Montana” featuring DaBaby & NLE Choppa includes a dope line referencing “Tweakin’ Together” by Bktherula offering nothing else exciting than the drumless beat. “So What?” is this generic trap number talking about being spoiled & the final bonus track “Like” wants to know why everyone coming for her.

My thing with Ice Spice has always been the fact that I’ve heard the styles that she presents done better as said previously when I reviewed Like…? about 2 & a half years ago, which still stands of this very moment. Examples include Don Toliver’s 4th album Hardstone Psycho coming into his own through the help of new jazz, Yeat’s early stuff when it comes to rage, RealYungPhil’s 7th EP Dr. Phil regarding New York/sample drill & the Moh Baretta mixtape Unorthodox in terms of Jersey club rap. I don’t mind her trying out sounds, it’s just not as interesting as some of her contemporaries.

Score: 2.5/5

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Big B – “Wellness Check” review

Everyone’s favorite Las Vegas, Nevada hooligan Big B is back for his 8th LP. Starting out as the frontman for 187, he would go on to join OPM following the demise of 187 & become a household name for the infamous California powerhouse Suburban Noize Records just a couple years later. His first 3 solo albums High Class White Trash, White Trash Renegade & More to Hate would become some of my favorite releases that the label has ever put out. Last we heard from B was during the pandemic when he dropped his comeback album Welcome to the Club & since reuniting with Michael Bradford on Members Only roughly 16 months ago, it’s only right for a Wellness Check.

After the titular intro, the first song “Time” is a fun boom bap opener to the Vegas Hooligan’s first full-length in 4 talking about life moving as fast as it is whereas the lead single “Sidecar” featuring G. Love, Peachole & Special Sauce goes reggae-pop embracing the boundless journey of life & extends the invitation to like-minded souls to partake in joy & fulfillment. “Loser” takes the pop rap route aesthetically explaining that someone’s gotta lose in order for someone else to win prior to the stripped-back “Further” talking about being unsure as to where he’s going & that it can’t be like last time.

“Broke AF” featuring the Common Kings dabbles into pop punk territory explaining that it really isn’t that much of a crime to enjoy yourself every once & a while leading into the electronic dance/hip hop hybrid “Fuck You” revolves itself around a breakup being done with a woman who wasn’t by his side giving him nothing but broken promises. “Slow Down” featuring The Aggrolites & The Debonaires assures over horns that they ain’t got time for nobody’s bullshit whatsoever just before the rap rock joint “F.2.T.F. (Foot 2 the Floor)” talks about doing the best with the cards he was dealt.

Peachole returns for the upbeat track inspired “Shinjuku Hotel” providing a dedication for his people rather than his peers while the summery “Drugs & Alcohol” reminds y’all exactly how he feels about both of those things. “2 Choices” featuring Merkules was a fun, party-starting choice of a 2nd single explaining that there’s no time for excuses since the bullshit will be useless in the end while “Fallin’” dabbling with trap acknowledging that he’s said he’ll never change, but he just might have to.

“Sparks” nears the end of the Wellness Check mixing hip hop & reggae explaining that everything will be ok & not wanting to see this person run away tonight sticking by their sides putting in as much effort to making it right as possible while the final single “Pretend” featuring Killer Mike embraces rap rock once again telling people to live their lives as much as they can due to the fact that some really don’t know what happens when we’re not here anymore. “Simple Song” concludes B’s first album in 4 years throwing it back to the Welcome to the Club having a duct-taped broken heart & a 5th of whiskey when it falls apart.

Surrounded by organic inspiration, Big B lets the world who knows him as a recording artist that he’s doing great & for those who wrote him off, he’s here again to say a few things & celebrate where he is now. Not only does it serve as a multi-dimensional narrative about B’s current station in life intentionally crafting a hodgepodge of musical styles dipping into realms of hip hop, punk, acoustic songwriting, ska & harkens to a signature SoCal sound that simultaneously evokes a sense of ease, nostalgia & forward motion.

Score: 3.5/5

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DJ Mustard – “Faith of a Mustard Seed” review

DJ Mustard is a 34 year old producer, DJ, songwriter, record executive & rapper from Los Angeles, California known for being a pioneer of the ratchet music scene. He sure enough embarked on a solo career almost a decade ago by releasing 10 Summers through Roc Nation Records & Republic Records, both of whom would also put out the sophomore effort Cold Summer. Mustard later departed following the mixed reception that his first couple LPs to form his own label 10 Summers Records & enlisted Interscope Records to distribute the more well-received Perfect 10 & considering that he produced one of the biggest singles of the year “Not Like Us” by Kendrick Lamar a few months ago, it raised the anticipation for his 4th album higher.

“Show Me the Way” by Kirk Franklin is a gospel opener advising not letting anything take your faith in God from you whereas “Up Now” by the BlueBucksClan, Lil Yachty & 42 Dugg works in synths & hi-hats to talk about making it out of the trenches. “Pressured Up” by ScHoolboy Q & Vince Staples with co-production from Terrace Martin gives off a bit of a futuristic mobb vibe for those looking to let loose during ghetto parties, but then “One of Them Ones” by Quavo & Rob49 hops over a violin-laced trap beat so both of them get boastful.

Meanwhile on “Parking Lot”, we have Travis Scott on some soulful trap shit talking about being as hard as Scott La Rock leading into “A Song for Mom” by Ty$ following the “7 to 7” skit for an R&B jam dedicated to all the mothers out in the world. “Worth a Heartbreak” by A Boogie wit da Hoodie & Blxst returns for a symphonic trap flare to the beat discussing that they both deserve nothing less than real just before the lavish “Truth Is” by Roddy Ricch rides through the night with his high beams ons.

“Mines” by Future melodically refuses to share his partner with anyone else taking her on vacation while “1 Bad Decision” by Ella Mai & Roddy Ricch crosses over pop rap & R&B firing rounds to the point where 911 has to be called. “Yak’s Prayer” by Kodak Black is this soulful/trap hybrid talking about the streets scarring people while the laidback “Ghetto” by Lil Durk & Young Thug talks about the being hood nearly every day of the week. “Pray for Me” ends Faith of a Mustard Seed with DJ Mustard himself giving a jab at rapping for 10 whole minutes.

15 years in the game & numerous hits under his belt spanning present day, what DJ Mustard has given us in Faith of a Mustard Seed has become an inspiring & deeply personal project that encapsulates his growth & dedication since. His sound being the ratchet scene has certainly expanded in that span of time from pop rap to R&B, gospel music, soul music, trap, orchestral music & mobb music allowing a consistent guest list to handle the performances up until the closer.

Score: 3.5/5

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