Tha God Fahim – “Dump Gawd: Hyperbolic Time Chamber Rap 19” review

Isn’t too surprising the 66th EP from Atlanta, Georgia emcee/producer Tha God Fahim would arrive on Halloween. Starting as an affiliate of Griselda Records & being 1/3 of the Dump Gawds alongside Mach-Hommy & Your Old Droog, we also can’t ignore the massive discography that he’s managed to build for himself, some of the standouts include Breaking Through tha Van Allen Belts & Dump Assassins. He’s been putting out amongst his best material in the past few years like the Camoflauge Monk-produced Dark Shogunn Assassin, the Nature Sounds-backed Iron Bull, the Nicholas Craven-produced Dump Gawd: Shot Clock King series, the Oh No-produced Berserko, the Mike Shabb-produced Dump Gawd: Rhyme Pays, Tha Supreme Hoarder of All Pristine Wealth, Supreme Dump Legend: Soul Cook Saga produced by Cookin’ Soul & Machine Gun Vocabulary produced by Cartune Beatz. Lethal Weapon 4 produced by Drega33 was the last time we heard Fahim on his own, making Dump Gawd: Hyperbolic Time Chamber Rap 19 the first since the season 2 premiere to be a solo effort.

“Not Ez” featuring Jay NiCE cautions that going against them will only backfire over a chipmunk soul instrumental whereas “Take the High Road” also featuring Jay NiCE works in some pianos to talk about being the new rulers of the game. “Grimsong” featuring Jay NiCE references WWE Hall of Famer Mike Tyson’s coke addiction prior to “Enchanted” setting the tone for the rest of the EP talking about immature styles not being a fraction of his power.

The song “Hexproof” nears Dump Gawd: Hyperbolic Time Chamber Rap 19’s conclusion cautioning not to ignore the factual combat found when dissecting tracks while “Mill 2” soulfully talks about this ongoing saga only being the tip of the iceberg as far as he’s concerned. “How Does It Feel?” finishes the EP by using some sampling technique a 1 last time looking to make a great impression whenever hits the stage.

Not too surprised that Jay NiCE appears during the 1st half or so of Dump Gawd: Hyperbolic Time Chamber Rap 19, but I could definitely say that this is the most that I’ve enjoyed an entry from the series ever since season 2 began over 4 weeks earlier. The production is prominently more drumless than Tha God Fahim’s last couple collaborative extended plays with the NiCEst of Immobilaire making boom bap a secondary influence & getting more abstract lyrically.

Score: 3.5/5

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SABA – “C0FFEE!” review

Chicago, Illinois emcee/producer SABA celebrating Devil’s Night with a brand new EP. The co-founder of the Pivot Gang collective a decade back, he broke out in the fall of 2016 off the solo debut Bucket List Project & the follow-up CARE FOR ME was where his potential would be put on a much more broader display. Few Good Things was a better version of Cordae’s sophomore effort From a Bird’s Eye View coming off From the Private Collection produced by No I.D., he’s grabbing himself a cup of C0FFEE!.

“How Many X?” begins by asking all sorts of questions like the amount of times this woman had broken his heart or if she even wants give his love a chance & after the “don’t be long” interlude, “my bro” featuring Senite jazzily talks about charming a woman he fell for more than once. The self-produced “Looking for Parking” shows off his singing abilities hoping his girl ain’t tired after pulling up to her complex while “Today Years Old” talks about not being like others.

Starting the 2nd half, “high tides” discusses all the hues in his life get so bright for the moment just before “itachi” after the “supplier” interlude talks about trying to stay sane despite that not being so easy because of the turmoil unraveling in front of us these past 9 months. “TICTACTOE” lastly finishes the EP with him starting to miss phone calls & texts from a female he’s no longer on speaking terms with realizing that some shit is better off being let go of.

It doesn’t really surprise me that coming off the most beloved full-length of SABA’s career this spring, C0FFEE! would embrace an experimental sound & get more abstract with his songwriting. However even with all these interesting creative ideas floating around, I don’t find myself coming back to it as much as From the Private Collection because there are a few key moments where some of these tracks don’t feel fully fleshed out.

Score: 3/5

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Icewear Vezzo – “Purple Passion” review

Detroit trap veteran & Iced Up Records founder Icewear Vezzo celebrating his birthday weekend with a brand new mixtape. For over a decade now after appearing on the studded “Detroit vs. Everybody” remix, this dude has been making waves locally by releasing the Rich Off Pints trilogy of LPs & over a dozen tapes. The previous Paint the City hosted by DJ Drama preluded his Quality Control Music debut album Live from the 6, which had a sequel of it’s own & the Undefeated looks to discuss his Purple Passion.

“Regular” opens with a reference to 14-time WWE world champion, 2-time WWE Hall of Famer, 5-time WWE Intercontinental Champion, 3-time WWE tag team champion & current the Endeavor-owned TKO Group Holdings division’s CCO Triple H whereas “GMB” featuring GT finds the 2 entertainingly trading verses with one another for almost 3 minutes. “Tesla” produced by Danny G could be my favorite track here even though the clean energy automotive company’s CEO, Twitter owner since 2022, SpaceX founder & Neuralink founder is a Nazi while “Heavy Metal” smoothly pulls up prices with the devil out in the ghetto.

Finesse2tymes’ appearance on “Trophy Music” is actually ok as someone who isn’t really a fan of him & the name does a solid job at matching that same vibe down to the horns until “Party on the 6” talks about shutting 6 Mile down for a block party. “High Fashion” glamorously expresses his appreciation towards haute couture just before “Status” featuring 2 Chainz taps into the Detroit sound whilst using a sample to talk about both of them getting everything they dreamt of.

Beginning the final act of Purple Passion, we have Vezzo atmospherically satisfied he’s “Having My Way” with things in his life as of late while “Supreme” gives a nod to the influential New York streetwear brand of the same name. “I Be Knowing” winds down the mixtape’s last 7 minutes with more sampling techniques talking about him being aware of the difference a woman & a hoe while the soulful Detroit trap outro “Free” talks about still being himself despite all his flaws.

Purple Passion preludes the next era of Icewear Vezzo’s artistry coming 2026 delivers the unique kind of raw storytelling that made the Iced Up Records CEO well beloved in his hometown & eventually the trap spectrum. Not only would I consider this tape to be an improvement over Undefeated because he’s elevated his style for the past decade, but also it’s heavy themes revolving around the hard work & dedication it took for him to be in his current position.

Score: 4/5

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Dirtcore Music – “Overkill” review

This is the 2nd showcase compilation from Grand Rapids, Michigan independent record label Dirtcore Music founded by local rapper, singer/songwriter & producer Crossworm. The latter of whom was sole artist officially signed for its first 2 decades of existence until bringing Samson Samson whom he formed Bodies Below Sea Level with, Madd Maxxx, Mumm Ra, Sleep Lyrical, J Reno whom he formed Misery Coast with & Grounds all on board. Others such as Gavyn Gunn & Oblivia have spent a brief amount of time signed to Dirtcore with Gavyn’s debut EP Malevolent being a great start to his ongoing trilogy, celebrating Devil’s Night with Overkill.

Crossworm eerily starts with a self-produced intro “Halloween Sucks” talking about him spraying mace at anyone who knocks on his door whereas “The Veil” by J Reno takes the trap route instrumentally discussing the boundary between life & death. “Mask On” by Sleep Lyrical shows a bit of a Memphis influence being in the kitchen with evil eyes every Halloween while “Agree to Disappear” by Madd Maxxx speaks to his therapist on wax.

“CR4V3 M3” by Samson Samson embraces a funky industrial direction talking about a woman who’s yearning for him just before “The Old Man” by J Reno returns to the boom bap vividly describes a house usually skipped during trick-or-treating being the only 1 in town this year. “The Warning” by Mumm Ra aggressively asks if anyone wants smoke with him because he ain’t got shit to lost leading into “The Dead Can’t Die” by Crossworm industrially talking about the undead being immortal.

Misery Coast comes off their eponymous debut EP earlier this week with the dusty “Never Woulda Guessed” confessing they didn’t imagine themselves winding up 6 feet in the ground while the horrorcore/industrial “Scream” by Samson Samson talks about making innocent victims shriek when walking in the room. “Demon Me” by Madd Maxxx & Sleep Lyrical bodies a trap beat together feeling lost out their minds while the outro “Nobody” by Grounds sends off the compilation with a metal closer kin to his debut EP Walking into Tragedy.

Dirtcore last Christmas finished 2024 with Dirtcore Music by compiling a collection of songs that’ll get the average listener who hasn’t heard of with the label familiarized with who everyone is from an artistic standpoint & a little bit as people. As far as Overkill’s concerned, they’re switching it up by having the entire roster penning songs that celebrate Samhain through a mix of styles from horrorcore & industrial music to metal & a small dosage of spoken word.

Score: 4/5

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Klokwerk E – “Rent a Friend” review

This is the 4th EP from Columbus, Ohio horrorcore duo Klokwerk E. Consisting of Billy D & Kyle Kombs, they introduced themselves a couple years ago off their debut EP Will Boof 4 Rent & later the full-length debut The Emerald Tablets. These guys would also form the supergroup Mighty Morphin’ Wackness with the Super Famous Fun Time Guys over 14 months ago, dropping Santa Claus Fukked My Dog as well as an acclaimed sophomore effort Anubis & their previous EP Bukkake Mukbang Extravaganza this summer. In preparation for Hallowicked weekend however, Rent a Friend has been slowly revealing itself to be their most interesting extended play yet.

It’s only appropriate for the title track produced by Kyle Kombs to set the tone of things talking about making new best friends & looks to “Have Some Fun” after a long day over a trap instrumental. “Bad Influence” humorously asks if you’d ride & die for them but after the “What’s Your Name?” skit, the synth-funk inspired “Johnny Bravo” references the classic Discovery Global-owned Cartoon Network series of the same name.

After the “Do You Remember?” skit, the penultimate song “Homeboys” officially winds down on Rent a Friend with a chill ballad dedicated to chillin’ with some good friends & “Together” sends off the EP with one of the greatest Klokwerk E songs ever heartwarmingly telling everyone listening that they won’t ever be alone hoping some of us live life more, find love & that it gets people through whatever hardships they’re facing.

The 3rd project from Klokwerk E in 2025 feels like a forgotten VHS tape from another era offering a 1-on-1 friendship experience that you’ll never forget, rivaling Anubis for some of the Silver Boof Brothers’ greatest material & exemplifying their popularity in the underground. Kyle Kombs’ production has been continuously getting better as he & Billy conceptually engage in a late-night conversation full of joy, melancholy & grief.

Score: 4/5

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Jay NiCE & Tha God Fahim – “Dump Gawd: Hyperbolic Time Chamber Rap 18” review

48 hours later & the 4th collaborative EP between Atlanta, Georgia emcee Jay NiCE & the local Dump Gawd himself Tha God Fahim has arrived. Both of whom have worked with each other countless times in the past several years, teaming up for the collab album Strictly 4 My D.U.M.P.E.R.Z. during the spring of 2018 & the Bloodspiller EP almost 3 years ago. Dump Gawd: Hyperbolic Time Chamber Rap 12 produced by Nicholas Craven became their greatest joint offering yet & fresh off the 17th chapter this weekend, installment #18 is here.

“Better Days” opens with Fahim holding the mic down by himself over a calming boom bap instrumental getting on some mental health shit whereas the soulfully jazzy “Everyday” talks about doing this shit no matter what. Jay NiCE finally appears during “Lay Punishment” setting wack rappers on fire on top of a sample just before “Lands Trapped” lets their words echo through nature.

The song “Well Done” continues the 2nd half of Dump Gawd: Hyperbolic Time Chamber Rap 18talking about being eager to make an other bag drop while Tha God Fahim’s final solo joint “Soo True” discusses protecting your heart. “Gumbo” finishes the EP with both MCs teaming up 1 last time for a soulful outro including a reference to WWE Hall of Famer & the shortest reigning WWE Champion André the Giant.

Reserving my praise towards Dump Gawd: Hyperbolic Time Chamber Rap 12, the predecessor on Sunday wasn’t on par with the season 2 premiere or the 16th entry in saga & I can pretty much confirm that Dump Gawd: Hyperbolic Time Chamber Rap 17 fits in the same category. Jay NiCE’s contributions decreased from 71% to 57% but other than that, there isn’t really a whole lot to be said that hasn’t been sent already from their chemistry to the production.

Score: 3.5/5

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Misery Coast – Self-Titled review

Misery Coast is a horrorcore & production duo consisting of Grand Rapids, Michigan rapper, singer/songwriter, producer & Dirtcore Music founder Crossworm and Windsor, Ontario, Canada rapper/producer J Reno. These guys have already been established within the underground wicked shit scene individually for over a decade or 2 already, forming last Christmas after having a couple tracks land on the Dirtcore showcase compilation. Some of the label’s acts had the honor of performing at the Gathering of Legends or the 25th annual Gathering of the Juggalos this summer & with Hallowicked festivities in a few days, Misery Coast’s looking to introduce themselves by releasing a brand new EP.

After the “Coast is Cursed” intro, the first song “Dance with the Devil” begins with a cold-blooded boom bap instrumental talking about sitting beside a fire where the lost souls go whereas “I Fuckin’ Do” takes a rap rock approach to the beat flexing they have the keys to a dead city. “Feed the Fear” talks about death always being nearby no matter how far any one tries to run from it & a haunted heartbeat stealing sleep leading into the “Coast is Clear” interlude.

“Welcome to” starts the 2nd half of the extended play with Crossworm & J Reno by dabbling with trap advising to disregard all the corpses beneath them looking to cause more than simply disorderly conduct while “The Ghost of Who I Used to Be” returns to the boom bap with some sampling talking about seeing part versions of themselves. “Is It Even Halloween?” celebrates the upcoming holiday with a 2 & a half minute wicked shit heater while “1 Last Cloud” finishes by talking about being born with violent cores.

Similarly to what Bodies Below Sea Level did with their eponymous debut album at the very beginning of November immediately following the previous Hallowicked season, it’s Misery Coast turn to properly introduce themselves as a group with a 21 minute EP providing depressive wicked shit for the hopeless & J Reno continuing to bring Crossworm right back to his hip hop roots in time for this weekend.

Score: 4/5

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Aesop Rock – “I Heard It’s a Mess There Too” review

New York emcee/producer Aesop Rock surprise-releasing his 12th studio LP almost 5 months since Black Hole Superette. Universally revered for his massive vocabulary, the man has put out a handful of underground hip hop essentials throughout the decades whether it be his solo catalogue or his membership of groups like Hail Mary Mallon or Malibu Ken. As far as his solo stuff: I recommend his sophomore effort & Definitive Jux Records debut Labor Day alongside The Impossible Kid, which was his 2nd under Rhymesayers Entertainment whom Aesop has made himself home with for over a decade strong. Blockhead had fully produced Garbology to acclaim & Integrated Tech Solutions has quickly received the same love The Impossible Kid, coming off the most complexly-produced opus of his career to put I Heard It’s a Mess There Too on YouTube & his website.

“Crystals & Herbs” starts us off with a quirky, self-produced boom bap intro abstractly explaining that you can’t blame the rigged system for not being able to defend yourself whereas “The Cut” takes an eerier route to the beat talking about being in a secluded location. “Full House Pinball” advises to remember what a little fresh air can do for us all just before “Bag Lunch” talks about having whole blocks on lockdown instead of avenues.

Meanwhile on “Spin to Win”, we have Aes over a funkier beat whipping around the woods & rattling the limbs of those nearby leading into “Opossum” instrumentally reminding me a little of Griselda running circles around instead of running in circles. “Oh My Stars” begins the 2nd half sharing donuts with crows whenever he finds himself unsure as to where to go while “Potato Leek Soup” talks about playing in the streets all day & encouraging bystanders to be scared.

“Pay the Man” begins the 3rd & final act of I Heard It’s a Mess There Too by working in a boom bap beat with some chimes feeling confident that he could throw a playing card that would land between one’s praying hands while “Poly Cotton Blend” shows off his sampling techniques forever hittin’ the ground runnin’ with the bum rush. “Fall Home” tells all of his friends he hopes they find what they need to become the people they were meant to be & the closer “Sherbert” advising one could be the likes of which we ain’t seen.

Rather than expanding the complexity of Black Hole Superette’s production earlier this spring, Aesop Rock makes a conscious shift in approach when making I Heard It’s a Mess There Too using newer tools to make his sound cleaner & more minimal because he felt like he’s been making music similarly for quite some time embracing a detailed concept around keeping up with long-distance friendships & the ways social media’s being used to document tragedies & political uprisings.

Score: 4.5/5

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Jay NiCE & Tha God Fahim – “Dump Gawd: Hyperbolic Time Chamber Rap 17” review

Atlanta, Georgia emcee Jay NiCE & the local Dump Gawd himself Tha God Fahim reuniting for their 3rd collaborative EP. Both of whom have worked with each other countless times in the past several years, teaming up for the collab album Strictly 4 My D.U.M.P.E.R.Z. during the spring of 2018 & the Bloodspiller EP almost 3 years ago. Dump Gawd: Hyperbolic Time Chamber Rap 12 produced by Nicholas Craven was the last time we heard them joining forces & they’re doing it again for the 17th installment.

“At Worst I’m Legend” starts with both of them over a bare soul sample turning their opposition into bloodbaths while “Swift N Effective” by Tha God Fahim soulfully talks about his mind continuously wondering as the cash flow picks up. “Wolves N Sheep” continues the sampling flexing that both of them are the coldest in their respective fields leading into the jazzy “Organize Power” talking about being brutally ruthless.

The song “1,000 Lashes” starts nears the conclusion of Dump Gawd: Hyperbolic Time Chamber Rap 17 by incorporating more vocal chops promising they won’t be granting safe passages just before “Divine Smite” marks Jay NiCE’s final appearance talking about needing sharpness & heart to battle them. “Ruthless Lawbringer” sends off the EP with a 2nd & final solo cut from Fahim advising to look at the bigger picture along with the small details.

Wasn’t expecting to get another collab project out of the Dump Gawd: Hyperbolic Time Chamber Rap saga this quickly let alone a 2nd one with Jay NiCE but since Dump Gawd: Hyperbolic Time Chamber Rap 12 became his & Tha God Fahim’s greatest joint offering yet, you’re probably gonna enjoy the 2nd entry of this ongoing season equally although I prefer the latter. Nicholas Craven’s production is mostly boom bap centered like the predecessor last month was with the exception of the drumless influences being emphasized & the evident chemistry of both lyricists.

Score: 3.5/5

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WowGr8 – “Howl at da Moon” review

WowGr8 is a 35 year old rapper from Atlanta, Georgia notable for being 1/2 of the EARTHGANG with Olu. They would later form the Spillage Village collective together, which J. Cole signing the EARTHGANG as well as J.I.D & the rest of the crew to his Dreamville Records imprint. He also has a solo mixtape & an extended play of his own on SoundCloud at this point, celebrating his birthday weekend by dropping an official solo debut in preparation for his partner-in-rhyme’s Earth 2 Olu.

After the “Red Band Trailer” intro, the first song “Keep It in Da Fam” sets up shop with a soulful trap instrumental talking about people only hating on him & his crew because they’re unstoppable whereas “Dirty Job” featuring Chris Patrick takes a jazzier approach explaining that they’re doing the tough work because someone has to. “Dumbass” dabbles with trap talking about learning the hard way sometimes leading into “Avant Garde” featuring Flvme explaining that they had to switch up their approach.

“Ya Woah” incorporates some sampling to suggest that any children around his vicinity should head home because he’s got a fully loaded clip on him just before “Debo” featuring Bigg Cup & Deante’ Hitchcock homage Tiny Lister’s character from the Friday franchise. Marco+ later joins WowGr8 for 3 minutes of “Pure Debauchery” prior to “Labrador” talking about not being with the back-&-forth shit.

After the “Doc Deescalates” skit, “At the Same Time” featuring Mick Jenkins takes a psychedelic trap turn describing their partners loving & hating them simultaneously while “Right Now” featuring Nicki Jupiter could have my favorite beat on the LP produced by Powers Pleasant, colorfully fuses pop rap with trap soul. “Alley” featuring MediSun embraces a bit of a reggae vibe continuing the themes of romance while “Flamingo” featuring Tonye Ayeba embraces a heavier R&B direction stylistically.

“Too Much Ass” talking about being a young entrepreneur trying to get a check & run a business experimenting with a neo-psychedelic trap sound while “P.N.C. (Post-Nut Clarity)” themed around the idea of being mentally reset after sex could be the most awkward moment on Howl at da Moon coming out the gate with a PornHub intro sample. “Uh Oh” meshes soul & gospel singing about his partner fucking but after the “N***a Pop” interlude, “Meow” featuring Benji makes playful feline references over a funky beat.

Starting the album’s final leg, “The Equation / Chuck Town Freestyle” divides itself in 2 halves with an EDM instrumental during the 1st & spitting off-the-top with a cloudy trap beat backing him during the other while “Swim” featuring Chaz French talks about needing more time & patience. “Throwbike” samples a flit & throws some hi-hats in the equation promising he’ll always give things his all while “Howl at the Moonlight” finishes by talking about everything coming with a price as a part of life.

It’s most likely safe to assume at this point that Earth 2 Olu will be more lenient towards an R&B style based on all 3 singles we’ve gotten from Olu these past 8 months & Howl at da Moon on the contrary stays rooted in hip hop telling the story of WowGr8’s life these past 3 & a half decades. Aside from a few lackluster tracks, I do appreciate him being more vulnerable & dramatic than normally compared to both EARTHGANG & Spillage Village’s own output as their own units.

Score: 3.5/5

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