Raz Fresco – “The Eternal Now” review

Toronto, Ontario, Canada emcee/producer Raz Fresco enlisting west coast veteran DJ Muggs for what I’m pretty sure is his 16th proper full-length solo LP. I’ve been familiar with the guy since my high school years at this point whether it be some of his features or his own extensive discography including the Magneto Was Right mixtape series, the Futurewave-produced Gorgeous Polo Sportsmen album, the Nicholas Craven-produced Boulangerie album, the Cake beat tapes, the Gia…À La Carte collab EP with Estee Nack or more recently the Cookin’ Soul produced Bakin’ Soul & the Daniel Son collab effort Northside. Further continuing the acclaim of the latter 3 received, The Eternal Now seemed like there was a high chance it could surpass them since Muggs been on a roll producing projects for other artists in recent memory & helping bring the best out of them.

The title track sets the tone of what’s to come from the jazzy instrumental to the lyrics letting everyone know exactly what they’re living in at this very moment whereas luxuriously “Memory Lane” talks about people spending too much time reflecting & being nostalgic, which I wholeheartedly agree with. “Look What You Made Me Do” goes full-blown boom bap examining the darkest side of Raz’ mind prior to the orchestral “Smoke & Mirrors” talking about the game being as cold as it is.

“Blood Money” strips the drums completely feeling alive whenever the sun touches him just before the “Ghost of Garvey” featuring Gritfall & The 6th Letter finds the trio over a crooning sample flexing that they brought back Marcus Garvey’s spirit. “King Tubby” makes a turn into drumless territory once again feeling like he wants to cry for the people sometimes due to the cruelness of the world leading into “Blow Up the Spot” returning to the boom bap talking about hitting the lottery if he had a nickel for every time he called out a poser for trying to be official.

Starting the 2nd leg, “Fake Beef” ruggedly warns that y’all can catch the smoker similarly to Terrell Owens & keeping the gates of Hell open reserving Heaven for the best while the dustily jazzy hybrid “World Peace” talks about the game plan trying to be taking land with their names on the building. “Pan’s Labyrinth” strips the drums once more discussing a trapped king trapped in faun’s elaborate & confusing structure while “Big Soul Assassins” returns to the boom bap representing the titular Soul Assassins collective.

“Staircase Stories” nears the end of The Eternal Now if you couldn’t tell by the title unearths his own tales from the staircases over a raw beat with an acoustic-sounding drum pattern & I found the rock sampling throughout “50 Bop” to be quite interesting allowing Raz to spaz the fuck out on the mic to the point where I can say it’s my favorite track here. “Spooky” closes the LP hopping on top of a drumless jazz sample calling himself Professor X with his mind.

Raz has already been having a Hell of a 2024 from Bakin’ Soul to Northside & surely enough, The Eternal Now reaches past Bakin’ Soul as the best full-length album in his entire discography yet. DJ Muggs’ production ranges from boom bap to drumless, jazz rap & rap rock giving a glimpse of the Toronto emcee keeping the same energy lyrically that he’s kept since the last couple projects of his that I previously covered.

Score: 4.5/5

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Rakim – “G.O.Ds Network (REB7RTH)” review

Rakim is a 56 year old MC/producer from Long Island, New York notable for being 1/2 of the seminal golden age duo Eric B. & Rakim. They put out 4 classic albums together from the mid-80s to the early 90s, with their debut Paid in Full & the sophomore effort Follow the Leader laying out the groundwork for future generations of hip hop to come. Kid Wizard eventually went solo in late ‘97 signing to Universal Music Group for an acclaimed debut The 18th Letter & the follow-up The Master while not as acclaimed still received positive feedback. Reception to The 7th Seal a decade after The Master was more mixed due to the lackluster production although the lyricism was certainly praised, but is returning after 15 years for a self-produced solo EP.

“Be Ill” featuring Kurupt & Masta Killa was a soulful boom bap choice of a lead single allowing the trio to talk about being down & real whereas “Now’s the Time” featuring B.G., Compton Menace & Hus Kingpin keeps it rugged explaining that the time is in fact now & they’re the last to know it. “Love’s the Message” featuring the late Nipsey Hu$$le, Planet Asia & WWE Hall of Famer Snoop Dogg takes the cloudy boom bap route instrumentally asking if you can see what they see while the symphonic “God’s Playground” featuring DMX, Fred the Godson, Skyzoo & 38 Spesh declares that the chase is on.

Canibus, Chino XL in what would be the final feature of his lifetime, KXNG CROOKED & La the Darkman all join The God for “Pendulum Swing” hooking up kicks, snares & strings looking to make a major change in the game together referencing Neuralink founded by Tesla CEO, SpaceX founder & Twitter owner Elon Musk leading into “International” featuring Joell Ortiz, Kool G Rap & TriState nearing the conclusion of G.O.Ds Network (REB7RTH) on some piano/boom bap shit wanting the money as opposed to violence. “Sign of 7” featuring Big Twins, Method Man, the late Prodigy & X-Raided finally ends the EP with the quintet luxuriously talking about being the mob including a reference to WWE Hall of Famer Ozzy Osbourne.

This man has to be in my top 3 with Nas & Kendrick Lamar, so it makes me more than thrilled that hear that his “G.O.D.” status extends to more than just lyricism by showing Rakim’s chops as a producer & resulting in one of the best EPs of what’s already been a prolific year in hip hop culture. The God hasn’t lost a step lyrically, the production is WAY better than The 7th Seal & a majority of the guests hold their own weight on the mic being some of the best that the east, west & south have to offer.

Score: 4/5

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Flee Lord – “Raised in the Sand” review

Queens, New York emcee Flee Lord is back with his 18th EP. Coming up in 2017 as protege of the late Prodigy, he has since become known for building up a massive discography for himself in the last 5 years. This includes the Loyalty or Death: Lord Talk trilogy produced by GodBlessBeatz, the Loyalty or Trust duology produced by 38 Spesh, the DJ Shay-produced Lucky 13 the Buckwild-produced Hand Me My Flowers, the Pete Rock-produced The People’s Champ & the Havoc-produced In the Name of Prodigy, the DJ Muggs-produced RAMM£LLZ££, the Roc Marciano produced Delgado. Last time I covered him was his 4th proper full-length album Ladies & Gentlemen which was followed by 2 more LPs 2-3 Zone & Full Court Press, but Raised in the Sand peaked my interest even more.

The title track starts off with a hypnotic boom bap instrumental talking about drawing a clear vision in the booth with his pen whereas “Hate When You Rich” produced by Harry Fraud works in a drearier loop with kicks & snares addressing those who envy his bread stacking up. “Snakes in Disguise” is an organ/boom bap crossover that DJ Green Lantern cooked up calling out those in the streets who’re literally snakes in disguise prior to “Pay the Price” swaps the organs out with a piano explaining that it takes to business with him.

V Don gives “Where’s the Love?” a soulful vibe telling y’all to get yours, lay low & stay out the way leading into “Ice Water 2” featuring Roc Marciano serving as a drumless sequel to “Ice Water” by Raekwon featuring Cappadonna & Ghostface Killah laced with the help of Mephux. Lord Mobb Music in-house producer Ghost Dave jumps behind the boards for the rap rock flavored “Lord’s Work” featuring Mummz & Trizz getting on their street shit just before “Brother 4 Life” soulfully talks about loyalty over Pounds440 sampling soul music.

“Skipping Out the Bank” featuring Pounds440 himself starts the final moments of Raised in the Sand by jumping on top of horns together literally skipping out the bank in the midst of everyone in their lives who’re jealous of them stressing out even further due to the fact & “Get Yours” ends the EP telling the homie to pass him a drink & given that he doesn’t do it very often, he’s in the mood to celebrate right now keeping the beat exuberant yet dusty at the exact same time.

Flee’s last couple albums were good, but I haven’t found myself enjoying a project from him this much since Delgado. Needless to say, what we have in front of us is the best EP that the guy has put out in 3 years. The production is a cut above 2-3 Zone & Full Court Press, I like that the amount of guests are toned down in comparison & Flee Lord himself tells everyone what it was like for him being Raised in the Sand.

Score: 4.5/5

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BandGang Lonnie Bands – “Creature Thoughts” review

Here we have the 12th EP from Detroit rapper BandGang Lonnie Bands. A member of the BandGang collective, he has since solidified himself as my personal favorite member of the group by putting out a total of his last 9 EPs as well as 3 full-length studio albums & 6 mixtapes. It’s been over a month since we last heard from Lonnie on his previous EP Antimedia 2: Reloaded & is returning 5-6 weeks later celebrating his 29th birthday weekend by letting out some Creature Thoughts.

“Kill the Goat” puts a Detroit trap spin on the same sample used in “Quiet Storm” by the late Prodigy assuring the Devil is a lie because his throat slit whereas “Creature Thoughts 2.5” cloudily continues the series of loose singles that came out in the summer of 2022 & last winter respectively talking about getting back focused. “Heartflow” discusses divinely experiencing the highs & lows over more Detroit trap production that is until the symphonic trap crossover “Detroit River” talks about rapping his life.

Moving forward with “Tarzan”, we have Lonnie over a slick Detroit trap beat explaining that he made it out the jungle just fine leading into the cold-blooded “Jack of All Trades” talking about being able to do many different types of work in the streets. “Shapeshifter” has the most dynamic beat on the entire EP getting in his gangsta bag lyrically, but then the acoustic trap hybrid “Lion Kingdom” warning that they done let the lion out.

“Live Fast Die Old” pushes further towards the encore of Creature Thoughts talking about hopes of of his music career taking off since he doesn’t want to be out in the streets hustlin’ much longer cautioning that people don’t really wanna walk up in his shoes because they won’t even fit at the end of the day & “Creature Speaking” finishes the EP with a soothing Detroit trap vibe putting mind over matter talking about the streets being as deceptive as they are.

Starting the deluxe run, “All in 1” fuses cloud rap & trap wanting to see this woman smile while “UKnowIKnow” maintains both elements from earlier advising to let him give her what she wants. “Big Dog” shows off his titular status for a couple minutes while the atmospheric “Praying for a Wife” talks about wanting to get married. “Risk It All” dynamically discusses the possibility of risking everything & the final bonus track “Reap What You Sow” talks about your present actions shaping your future consequences.

Lonnie couldn’t have celebrated entering the final year of his 20s any better than releasing Creature Thoughts, which is a 10 track/23 minute offering dedicated to the real ones that’re by his side & definitely the most that I’ve enjoyed a project from him in quite a while. It’s more well produced than his last few efforts especially in this particular style of trap music that people complain for being repetitively 1-dimensional taking us through the creaturous mindset of the BandGang’s most prolific member.

Score: 3.5/5

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長谷川白紙 – 「魔法学校」レビュー

Hakushi Hasegawa is a 25 year old singer/songwriter from Tokyo, Japan who made their full-length studio debut in 2019 with Air Ni Ni following their first couple of extended plays: iPhone 6+ & Sōmoku Hōdō. The sophomore effort I’m Dead! would come out in 2023 & impressed the Los Angeles, California producer Flying Lotus so much to the point where he signed them to Brainfeeder Records distributed by Ninja Tune. Coming off a handful of teasers, they’re ready to make their official debut as part of the Brainfeeder roster with their 3rd album.

“Departed” begins fusing glitch pop, nu jazz, art pop, speedcore, breakcore, jazzstep & breakbeat singing about wanting to think that she’s gone whereas “Gone” featuring Kid Fresino goes full Japanese hip hop taking inspiration from experimental hip hop, experimental rock, glitch pop, math rock, industrial hip hop, abstract hip hop, flashcore, brutal prog, speedcore, avant-garde jazz & breakcore so they can compare themselves to ninjas in broad daylight.

Glitch pop, nu jazz, art pop, batucada & hard drum all collide on the lead single “Mouth Flash (Kuchinohanabi)” wanting a tricky person to confess their ways to them while “The Blossom & The Thunder” after the “Repeal (Tekkai)” interlude remixes KAF’s most popular single “Thunder in Bud”, which Hakushi was featured on. The 5th & final single “Kyōfunohoshi” ends the 1st half combining glitch pop, avant-garde jazz, nu jazz, art pop, deconstructed club, jazz fusion, breakcore & jazzstep singing about showing this person the light if they do the same.

After the “NENNEKOKOROMI” interlude, “Forbidden Thing (Kimmotsu)” gives off a neo-psychedelic chamber folktronica vibe explaining that the best season of sleep has come because it’s dark while “Boy’s Texture” after the “MAHO-Interview” skit explores folktronica, neo-psychedelia, freak folk, sound collage, indietronica & trip hop heavily relying on the usage of adlibs. The final song “Outside (Soto)” succeeding the “Enbami” interlude finishes the LP taking elements of deconstructed club, glitch & sound collage expressing a desire to explore the spacious outsides because they love the way the colors change during seasons.

Air Ni Ni still remains Hakushi Hasegawa’s most acclaimed body of work to date, but Mahōgakkō lands right behind it without a shadow of a doubt & I’m confident of their future under Brainfeeder Records will help give them wider exposure to the American independent music audience in the long run. Their production predominantly has a glitchy art pop vibe to it secondarily taking inspiration from nu jazz, deconstructed club, folktronica, neo-psychedelia, hardcore EDM, experimental music & progressive pop.

Score: 4/5

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chelmico – “ati natu” review | チェルミコ – 「アティ・ナトゥ」レビュー

chelmico is a duo from Shibuya, Tokyo, Japan consisting of Mamiko Suzuki & Rachel Watashiga. Introducing themselves with their self-titled debut album & an EP, their next 2 albums Power & Fishing as well as the 2nd EP Cozy drew further acclaim up until Maze quickly became the crown jewel of their entire discography. gokigen matched the same caliber as Maze & Fishing but looking to come off I just wanna dance with you- period, Mamiko & Rachel are nearing the end of summer dropping off ati natu.

チェルミコは、鈴木麻美子とレイチェル・ワタシガからなる東京・渋谷出身のデュオ。セルフ・タイトルのデビュー・アルバムとEPで自己紹介をし、続く2枚のアルバム『Power』と『Fishing』、そして2nd EP『Cozy』は、『Maze』が彼らの全ディスコグラフィーの頂点に立つまで、さらなる賞賛を集めた。ゴキゲンは、『Maze』と『Fishing』と同レベルの作品に仕上がったが、『I just wanna dance with you-ピリオド』からの脱却を目指し、マミコとレイチェルは夏の終わりに近づき、『ati natu』をドロップする。

“Sunburn” hits us with a refreshingly playful & lightly rhythmic Japanese pop rap summertime bop to start the 3 track run of the EP whereas “Summer Course” featuring Neibiss links up with hyunis1000 & ratiff so the quartet can hop over this bright yet fast-paced beat ripping up the mic together. “Watermelon” concludes ati natu by going for a tropical vibe instrumentally bringing a catchy hook to the table & some of the craziest flows that the EP has to offer during the verses.

「Neibissをフィーチャーした “Summer Course “では、hyunis1000とratiffが参加し、この明るくもテンポの速いビートの上で一緒にマイクを握る。”Watermelon “では、トロピカルなヴァイブスをインストゥルメンタルで表現し、キャッチーなフックとEPで最もクレイジーなヴァース・フローを聴かせる。

Come to think that it’s already been a decade since chelmico went from forming after meeting through a mutual friend bonding over their appreciation for RIP SLYME now consisting of both Ryo-Z & Ilmari of the Teriyaki Boyz alongside DJ Fumiya to becoming one of the most popular acts emerging from the j-rap scene in recent memory following their recent output & reaffirmed once more. All 3 tracks on ati natu are summer-themed, but each one has their own different vibe to them.

共通の友人を通じて出会ったRIP SLYME好きが高じて結成されたchelmicoが、テリヤキボーイズのRyo-ZとILMARIにDJ FUMIYAを加えた編成になってから早10年。ati natuに収録されている3曲はどれも夏をテーマにしたものだが、それぞれ違った雰囲気を持つ。

Score: 3.5/5

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Trizz – “Cavi En Cursive” review

This is the 6th full-length LP from Los Angeles, California emcee Trizz. Picked up a microphone at the age of 9, it wasn’t until his late teens where he properly introduced himself to a wider audience in the form of his debut mixtape Suicide with No Note followed by New West & The Right to Bear Arms before being taken under the wing of Sacramento horrorcore veteran Brotha Lynch Hung by signing to Madesicc Muzicc for a brief period of time. He would later go on to drop 5 more tapes, 5 full-lengths, 5 EPs, 5 collab projects with Chuuwee, 1 with Flashy B, another with Sahtyre & another with Ouija Macc all within the last decade. Much like the critically acclaimed Baseline Cavi, he & former Strange Music in-house producer MIKE SUMMERS a.k.a. 7 are sticking together for Cavi En Cursive.

“Calligraphy” starts up the Baseline Cavi sequel on some jazzy boom bap shit talking about seeing the road clear as day before even mapping it whereas “Baseline” featuring T.F takes the eerier route instrumentally reminding everyone that both of them be running shit in the west coast. “Givin’ It Up” goes full-blown g-funk to talk about how he feels like soaking it all in or livin’ it up, but then “Alpine” hooks the kicks & snares up again to portray the gangsta lifestyle.

Pomona Drey & Traffic join Trizz for the funky, boom bap hybrid “Curb Service” serving music to the fiends like crack addicts leading into the smooth “Figure 8z” talking about cruisin’ down Baseline bangin’ his own music in the whip. “Type Shit” featuring 2-11 emphasizes a darker atmosphere further keeping the kicks & snares in tact talking about the shit they be on just before “Broken En 2” samples “Walk on By” by the late Isaac Hayes assuring he’s still getting it even though he ain’t rich.

“Arrogant” switches gears into trap territory with some g-funk undertones so he can talk about wearing his arrogance with pride starts the 2nd leg of Cavi En Cursive while “Moonlight” jumps over drumless jazz loop expressing how good it feels to be high in the sky. “Cream” featuring Blu returns to the boom bap once again to be all about the bread like the almighty Wu-Tang Clan while “O & a Half” featuring Flee Lord breaks down the lives they live on top of a mellow beat.

Brotha Lynch Hung reconnects with his protégé for “Truth Sells” brings the kicks & snares back as both of them talk about their imperfections having to study & learn the game while the syrupy “Fighting Temptations” details the depression that he goes through time to time. “Free Fall” nears the end of the LP with another jazzy boom bap instrumental looking to mediate since he be overthinking & “Die for Something” featuring T.F soulfully closes Cavi En Cursive trying to get money & profiting.

It’s already to the point now where I can say that Baseline Cavi has already cemented itself as my favorite album that Trizz has put out & the sequel here is almost as great from top to bottom. Even if it has a bit more features than the predecessor did couple years back, 7’s production has a heavier west coast vibe in the midst of demonstrating his range from boom bap & trap to drumless & jazz rap excellently suiting Trizz’ west coast gangsta lyricism no differently than last time.

Score: 4.5/5

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Rich the Kid – “Life’s a Gamble” review

Rich the Kid is a 31 year old rapper & songwriter from College Park, Georgia notable for being the founder of Rich Forever Music. Following the debut mixtape Been About the Benjamins, he would catch the attention of the local Quality Control Music & signed a distribution deal with them for his next 6 tapes. The World is Yours along with it’s sequel distributed by Interscope Records were both mediocre in their own rights & the Republic Records-backed Boss Man was his worst album yet. His opening verse on the hit single “Carnival” ended up being more enjoyable than I thought it would & now that Rich Forever Music signed a new distribution deal with gamma., Rich is finally releasing his 4th album independently executively produced by ¥$.

The intro starts off hopping over a trap instrumental with the sound of a clock ticking refusing to pause whereas “Gimme a Second” featuring Peso Pluma & produced by DJ Durel links the pair together so they can flex. “Not in the Mood” featuring Offset takes a bouncier route instrumentally dissing everyone out of the loop leading into “New Chanel” going off-the-cuff for about a minute & a half explaining that he’s a big dog that can never be belittled.

“Upside Down” featuring French Montana darkly finds the 2 looking to flip the club off it’s axis while the hyphy joint “Back Then” talking about never feeling like he’s actually make it out & them thinking he was cappin’ in the early days until all the success came. “Louie Coat” featuring Chief Keef kinda has this uncanny atmosphere that Murda Beatz provides showing off their new coats from Louis Vuitton, but then the d.a. got that dope piano-driven “Band Man” continues to boast his wealth.

BIA joins Rich for the exuberant trap cut “Like Yoga” to talk about making a scene like Doja Cat out here just before the cloudy “Hold On” asks how one would doubt him with all the plaques that he has on the wall giving them racks to riches. “Tell Me” featuring Young Adz continues to emphasize on atmosphere asking who else got the hood trappin’ than them while the “Gimme a Second” remix has a simpler beat from Ye formerly known as Kanye West, The Legendary Traxster & Digital Nas in addition to a new ¥$ verse.

“Keep It Exclusive” featuring Quavo woozily tells the listeners not to sleep on the gang while the synth-heavy “Sometimes” admits that he has moments where he would rather want to be himself instead of a rapper. “No Mileage” somberly talks about being unable to trust anyone while “Plain Jane” featuring Ye comes straight from the DONDA 2 sessions boasting their wealth once more. “Rocking & Rolling” ends the album hopping over another cloudy instrumental that Supah Mario cooked up saying he can’t be stopped.

Other than “New Freezer” or “Carnival”, I’ve never really been a fan of Rich the Kid myself since all 3 of his previous albums (more specifically Boss Man) have proven how much of a nonessential character & Life’s a Gamble makes a slight cut above everything he’s done as his best full-length yet albeit not by much. Some of the features punch under their weight, the production’s just ok & Rich himself as performer doesn’t excite me as he did on 2 of the biggest singles of his career.

Score: 1.5/5

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Denzel Curry – “King of the Mischievous South 2: Ultraground” review

Floridian emcee Denzel Curry gearing up for his upcoming 6th album by releasing his 5th mixtape ahead of it. Coming up as a member of the SpaceGhostPurrp-founded Raider Klan a little over a decade ago. He then left in 2013 & has seen quite the success on his own off projects like Nostalgia 64, 32 Zel (Planet Shrooms), imperial, TA13OO, Zuu & the Kenny Beats-produced UNLOCKED. Melt My Eyez, See Your Future went on to become his most mature & acclaimed body of work to date & I had no problem in him making Ultraground a sequel to his best mixtape King of the Mischievous South.

After the intro, the first song “Ultra Shxt” featuring Key Nyata is a Memphis inspired opener with both of them talking about never folding whereas “Set It” featuring Maxo Kream has an eerie trap direction that Oogie Mane of Working on Dying goes for telling everyone to run it right there. “Hot One” by The Scythe produced by FNZ mixes Memphis rap & trillwave together making money from the comfort of their sofas just before “Black Flag” featuring That Mexican O.T. continues to pull inspiration from the Memphis scene smoking on bitter motherfuckers & calling it sour.

After the “Headcrack” interlude, “G’z Up” featuring Mike Dimes & 2 Chainz has more of a symphonic trap flare to the beat refusing to hear shit until they get paid leading into the bombastic “Sked” featuring Kenny Mason & Project Pat following the “Lunatic” interlude explaining they’re about family, God, business & bread over a Charlie Heat instrumental. After the “Choose Wisely” interlude, “Cole Pimp” featuring Juicy J luxuriously paints themselves as big players while “Wishlist” featuring Armani White charmingly shows the lames how to do this.

“Hit the Floor” featuring Ski Mask the Slump God nears the end of the tape on some rage shit courtesy of ilykimchi dropping bodies 1-by-1 & the final song “Hoodlumz” featuring A$AP Rocky & PlayThatBoiZay ahead of the outro officially wraps up King of the Mischievous South 2: Ultraground with 1 last cloudy Memphis joint & all 3 of them painting images of the lifestyles that each one of themselves live. “Act a Damn Fool” featuring Duke Deuce & Slim Guerilla is a decently trippy start to the deluxe run wylin’ out while “Got Me Geeked” makes up for it from the Powers Pleasant instrumental to the carefree lyricism.

Key Nyata & Sauce Walka join Denzel on “P.O.P. (Paper Over Pussy)” heads for a smooth trap direction prioritizing money instead of bitches while the cloudy “Anotha Late Night” featuring 454 finds both of them teaming up to talk about shawties wanting to test the pimp in them. The final bonus track “Still in the Paint” featuring Bktherula & Lazer Dim 700 samples the iconic Waka Flocka Flame single “Hard in da Paint” capturing the raw energy & reality of life in the streets by conveying themes of loyalty, resilience & authenticity.

Everything that made King of the Mischievous South my favorite tape that Zel has offered us yet has been brought to a whole new level over a decade after a predecessor. He went harder on the features than he did on his mature magnum opus 2 & a half years ago, the reference points from which he draws has expanded significantly. He still has a hypnotic ear even though no longer cakes his music in warped cassette grime, it’s just that he’s seeing Memphis with new eyes now that he’s older & has a decade of experimentation under his belt.

Score: 4.5/5

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Ouija Macc – “Darcc Planet” review

Las Vegas emcee Ouija Macc has returned a year after Detritus for his 4th LP. Breaking out in the fall of 2017 after the Insane Clown Posse signed him to Psychopathic Records shortly after putting out his debut EP Trashfire independently, Ouija has since proven himself as the hatchet’s biggest solo act dropping his last 3 full-lengths, 2 greatest hits compilations, 8 mixtapes & 4 EPs all in the span of nearly 7 years. He even started his own label Chapter 17 Records & made the big homie HEXXX the first signee to putting out his first 2 classic west coast wicked shit albums Demon Season & Tales of a Cursed G before amicably fulfilling all contractual obligations with the Psychopathic subsidiary last fall. Darby O’Trill is now the only C17 artist other than Ouija, teaming up with each other back in April for the excellent collab effort Anemoia few months ago. Now that he near-perfectly completed the Elements series on Stalewind during the Gathering of Dreams, it’s finally time for the Darcc Planet to ascend 6 months following Corruptus & performing at a JCW Lunacy taping a couple months ago.

After the “Signal Interruption Event” intro, the first song “Psychocidal” starts off with a murky trap instrumental from Devereaux detailing the psycho sick mentality that Ouija posses whereas “Macc Mode” steals from the rich & kills a pig for them cuffs at the wrist further embracing a morbid atmosphere. “Labiaplasty” works in some bells & hi-hats explaining that all the killers know they ain’t coming back, but then the rubbery “Baton” produced by Shaggytheairhead talks about the type psycho shit that Chapter 17 & Psychopathic are on.

“Sin City” brings a misty trap flare to the beat reminding everyone exactly where he came from just before “Boomshaka” serves as a uniquely crafted sequel to “Chicken Huntin’” & that brings a huge smile to my face since the Slaughterhouse remix of which ranks amongst the greatest ICP songs of all-time. “Last Laugh” embraces a manic trap direction instrumentally wanting to know who they laughin’ at exactly while “Sun Don’t Shine” ends the first half on some emo rap shit talking about life getting dark.

To start Darcc Planet’s other leg, “Juggular Vein” gives the juggalos & the underground in general music to be buried by while the 5 & a half minute “For the Tombstone (When I Go)” serves as one of the most chilling moments here & one of the best Ouija songs ever sounding like he conceived it as a parting open letter for when day comes where he’s no longer with us. “Murder Dance” infernally admits that C17 ain’t for everyone & Psychopathic being the set while “Moonlit Dungeon” morbidly talks about the hatchet forever choppin’.

“Butternuts” hauntingly welcomes listeners to the dead side while “Tropicana Ave” mixes a guitar & hi-hats talking about being fucked up to the point where he ain’t looking down. “My Luv (Sometimes)” experiments with rage beats making the pack flip & running the bag up while the cloudy “Prophet Paint” declaring the wicked clown paint as prophetic. “Deincarnation” depressingly end the album with a guitar/trap fusion hoping this his last life.

Beginning the deluxe run, “Dead Bitches” murkily talks about runnin’ through 34 dead hoes while “Gotta Have It” goes for a bouncier trap approach keeping the hatchet on his hip for the static & being an addict. “Poltergas” turns the trap metal influences up again talking about something controlling him while the morbidly atmospheric “Meht kcuF” gives the middle finger to everyone who’s been hating on him since becoming the biggest solo artist ICP ever signed.

“Talk It Now” fuses a sample & hi-hats continuing to go at the throats of everyone dismissing C17 while the cloudier “Murder Everything” sets out to literally slaughter everyone & everything in his path. “What’s Up” is another bell/trap joint making sure the club is burnt down & shot up by the time he pulls up & the final bonus track “Losing My Mind” ahead of the “Forbidden Signal Event” outro tells the story of a naked man shot dead on a Saturday because he was gnawing off another man’s face.

Stalewind for the past couple years has quickly become my favorite LP of the 4 that Ouija has dropped & Darcc Planet sure enough reaches the same caliber that the final installment of the Elements series reached at the Gathering of Dreams. As the title suggests, it’s the darkest material that the C17 CEO has ever conceived on his own since branching out on solo in 2017 & you can hear how much he’s artistically grown since.

Score: 4.5/5

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