Rich Amiri – “Ghetto Fabulous” review

This is the sophomore full-length album from Boston up-&-comer Rich Amiri of the 4ersona collective. Beginning to turn heads since the fall of 2021 off the strength of his debut EP Ethereal, he would go on to follow it up with 6 more EPs before signing to Internet Money Records & introducing himself to a wider audience this past spring on the aptly titled Evolution earlier this past spring. And with only a month left of fall to go, Amiri’s returning halfway through the 4th quarter to show off how Ghetto Fabulous he is.

“No Handouts” is a cloudy trap opener co-produced by Rio Leyva talking about bossing up becoming the man now simply tryna play it safe previously whereas “I Want Everything” expresses his desire to have it all over a cloudy backdrop with some hi-hats worked in also. “Quartermill” happens to be another atmospheric trap cut flexing that he’s got $250k on him prior to “Outta There” talking about rockin’ out the show & collect the check afterwards over a glossy trap beat from solely Rio.

The rage vibes throughout “1 Call” are pretty interesting as Amiri let’s it be known he doesn’t trust anyone just before the horn-inflicted “Illuminati” addresses the claims that some of these idiots out here have been making that he’s a part of the titular secret society. “Sticks on Ready” boasts that his whole team’s too rich ‘cause someone put on his guys accompanied by a futuristic trap instrumental, but then “Troops” acknowledges that everyone knows he ain’t a fool & I love the angelic trap vibes to the beat.

“Forza” continues the 2nd half of Ghetto Fabulous by bragging about racing just like the titular video game franchise over more horns & hi-hats while the vibrant “Codeine Crazy” produced by Taz Taylor & ReidMD from Vanguard Music Group is a dedication to the lifestyle that he’s found himself involved in since making music. “Ain’t Nothing” shows off how crazy he’s been going resurrecting the trillwave aesthetics of some of the previous joints that is until “Paper Bag Tags” goes for a playful approach showing a sensual side to Amiri.

The bassy penultimate track “What It Cost” draws near the end confessing he doesn’t know anything about old money even though he’s got a whole lot of new money these days & “Kurt Cobain” wraps it all up by hooking up a trap instrumental reminiscent to that of a retro video game breaking down the ways of him livin’ large now that his music career is taking off alongside his profile continuing to increase as a result of that.

Evolution showed a lot of growth in Amiri earlier this year & as a way of possibly ending his 2023, he’s giving everyone a glimpse into his Ghetto Fabulous lifestyle & making it as consistent as the previous body of work from him. Internet Money’s production continues to bring the best out of him as he flexes his newfound fame & fortune.

Score: 3.5/5

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Only the Family Entertainment – “Nightmares in the Trenches” review

Only the Family Entertainment is a independent hip hop label based in Chicago, Illinois founded by local drill emcee Lil Durk. They eventually grew its roster to the point where Durk started showcasing his artists on Only the Family Involved, Only the Family Involved 2, Family Over Everything & Loyal Bros all to generally mixed reviews. But as the 1-year anniversary of Loyal Bros 2 approaches next month, Only the Family is looking to tell Nightmares in the Trenches.

“Nobody’s Safe” by OTF Boonie Moe featuring Rob49 is an underwhelming way to start the compilation as they jump over an uncanny trap instrumental declaring there isn’t a single soul that’s safe once they out in the streets whereas “Eyes Red” by Lil Durk picks things up by talking about pulling his Amiris halfway down accompanied by an aquatic backdrop with hi-hats. The atmospheric trap instrumental on “Posted At” by CoKilla & THF Zoo isn’t too bad even though I can’t say the same for the performances, but then “Them Ones” by Durk bounces back once more saying there’s no way he can run out of money over a cloudy Chopsquad DJ beat.

Chief Wuk joins Durk for “I’m the Type” explaining the type of people they are going for a Detroit trap vibe this time instrumentally leading into “Last One” by Doodie Lo featuring YTB Fatt refusing to talk about their last hits over hi-hats & bells. Speaking of the Detroit trap scene, Icewear Vezzo & Durk team up on “Fuck It” going back & forth with one another very well over an eerie trap beat just before “Hood Said” by solely Durk is an acoustic trap crossover talking about history repeating itself.

The song “Whatever You Wit” by CoKilla & Deeski shifts into drill turf although the subject matter of being down with whatever you’re down with is ok while the penultimate track “It’s on Me” by Booka600 talks about guts & glory always taking you to the end over a slick instrumental. “Smurk Carter” ends the comp with 1 last Lil Durk solo cut giving me a bluesy trap feeling sonically declaring money as the root of all evil.

Other than the late King Von & of course Durk, I was never that big on the OtF roster so I didn’t really expect a whole lot going into their 6th showcase effort. However, it’s probably the most I’ve enjoyed a compilation from the Chicago label. Lil Durk’s performances are obviously the best out of what the current roster has to offer with the production primarily centered around trap with drill undertones additionally being thrown in.

Score: 2.5/5

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André 3000 – “New Blue Sun” review

It’s still surreal to me that I’m actually fucking saying this but this is the official solo debut album from Atlanta, Georgia emcee, singer/songwriter, producer, actor & visionary André 3000. Coming up as 1/2 of the greatest hip hop duo of all-time OutKast with Big Boiwhom he met at Lenox Square Mall when they were both 16, they were also a part of the Dungeon Family collective & released some of my favorite music EVER! This includes ATLiens, Aquemeni, Stankonia & Speakerboxxx / The Love Below. The 2nd disc of which was basically the closest thing we got to a solo album from 3 Stacks up to this point. However after what would eventually be their final album Idlewild serving as a soundtrack to the movie of the same name they would focus on their solo careers. Francis the Savannah Chitlin’ Pimp mostly notably putting out 3 full-length LPs of his own as well as an eponymous EP as Big Grams & an eponymous debut album as Big Sleepover too. André 3000 however stuck to doing features & pursuing an acting career most recently in the A24 Films comedy drama Showing Up, putting out an avant-garde jazz EP on Mother’s Day 2018 called Look Ma No Hands. So considering that, I’m not too surprised by New Blue Sun expanding on jazz music in a flute-heavy fashion because I like to consider Dré as the Prince of hip hop in the sense that he can do just about anything musically.

“I Swear I Really Wanted to Make a Rap Album, But This Is Literally The Way The Wind Blew Me This Time” is a peaceful 12 & a half minute opener to the LP that I can imagine hearing after waking up on a beautiful morning whereas “The Slang Word Pussy Rolls Off the Tongue with Far Better Ease Than the Proper Word Vagina. Do You Agree?” takes the atmospheric route instrumentally & I absolutely agree with the question. “That Night In Hawaii When I Turned Into a Panther & Started Making These Low Register Purring Tones That I Couldn’t Control…” makes me feel like I’m walking through a jungle for 10 & a half minutes in the best way possible, but then “BuyPoloDisorder’s Daughter Wears a 3000® Button Down Embroidered” sounds like he made this 13-minute piece in the midst of watching The Mandalorian or something.

To start the 2nd half of the album, “93 ‘Til Infinity & Beyoncé” is the shortest cut on the entire LP yet still absolutely euphoric from start to finish just before “Ghandi, Dalai Lama, Your Lord & Savior J.C. / Bundy, Jeffrey Dahmer & John Wayne Gacy” keeps the peaceful vibes in tact. The penultimate “Ants to You, Gods to Who?” goes for a futuristic approach sonically & “Dreams Once Buried Beneath the Dungeon Floor Slowly Sprout Into Undying Gardens” is a magical 17 minute closer.

Like I said on Twitter at the beginning of the week: I’m not even mad at 3 Stacks for doing an ambient, new age spiritual jazz album because he’s just one of those guys who can do just about anything & it makes me very happy that this day has come as a long time OutKast fan because this is way better than Look Ma No Hands over 5 years ago. His production also showcases elements of progressive electronic, tribal ambient, Andean new age & Native American new age in the most soothing ways you can imagine.

Score: 4.5/5

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Vinnie Paz – “All Are Guests in the House of God” review

This is the 8th full-length solo LP from Philadelphia underground veteran Vinnie Paz. Breaking out as the MC of Jedi Mind Tricks & the leader of the Army of the Pharaohs collective, he put out his first 2 solo albums Season of the Assassin & God of the Serengeti in 2010 & 2012 respectively until returned in 2016 with The Cornerstone of the Corner Store. The Pain Collector would become my favorite of his since his first 2 but since as above so below, Paz has been staying consistent by delivering a new solo effort every year. And to commemorate the 1-year anniversary of Tortured in the Name of God’s Unconditional Love, the Verbal Hologram is assuring that All Are Guests in the House of God.

“Drug Church” is an ominously drumless start to the album that K-Nite 13 helped cook up calling out those who be sleeping while the feds are watching them whereas “Oil Drums” featuring Freeway works in a soulful boom bap instrumental from Leaf Dog talking about taking them to the ocean to throw them overboard. “Koresh Babylon” fuses this beautiful loop with kicks & snares provided by Giallo Point trying to get away from those who be tailing Paz leading into “The Jungle’s a Shapeshifter” featuring Trxstworthy finding the 2 joining forces for a rugged hardcore anthem.

The lead single “2000 Shot Barrage (Return of Hell’s Messenger)” produced by C-Lance is an incredibly raw sequel to a highlight off The Thief & The Fallen just before the flute/boom bap hybrid “Nero Caesar” featuring Smif-n-Wessun that Farma G laced continuing to get on their battle rap shit. Meanwhile, the suspenseful atmosphere that Vic Grimes brings to “Impaler” is absolutely perfect advising not to play with these kids prior to “Swift Chancellor” experimenting with trap a bit talking about his squad really gunning out here.

“Slow March to the Burial” featuring Ransom brings the 2 wordsmiths together over dusty kicks & snares spitting more hardcore lyricism, but then “Peace Means Violence” featuring Saigon begins the 2nd leg of All Are Guests in the House of God with an eerie boom bap beat from Stu Bangas getting murderous. “Terry Funk Ain’t Wear a Mouthpiece” continues to offer offering that pain remembering the titular WWE Hall of Famer, former 2-time ECW World Heavyweight Champion, ECW Television Champion, 2-time WWE United States Champion, WWE Tag Team Champion, NWA World’s Heavyweight Champion, the oldest JCW World Juggalo Heavyweight Champion & the oldest 3-time WCW Hardcore Champion who gave FMW founder 大仁田厚 the best match of his career over more kicks & snares that is until “Yemeni Telephone Number” featuring the Timbo King ruggedly talking about the aura of hell-gazers.

Moving on from there, “Balla Ejj” mixes pianos with a foreign vocal sample comparing himself to that of a craftsmen while “Beausoleil Wiretaps” by the Heavy Metal Kings featuring Lord Goat sees the trio over a Middle Eastern/boom bap blend spitting the aggressive lyricism that all 3 of them have made themselves known for. “Praise the Witch” featuring Young Z locks in with EYEKETYSON to grimily tell those that if they’re gonna do something, they should do it properly & Young Bangas whips up the best trap instrumental on the album with “La Pulga” talking about Vinnie meaning what he says.

“Valentino Dueling Gloves” weaves a flute into the fold admitting that there ain’t a whole lot of time here & that nobody else is moving as long as the Ikon’s still around, but “Murder is an Artform” featuring the late Blacastan & Tha God Fahim officially ends the LP with the 3 over a somber boom bap instrumental continuing to deliver further down the murderous rabbit hole referencing WWE Hall of Famer, former 3-time WWE Champion, 11-time WWE tag team champion, the inaugural WWE Hardcore Champion, CWA World Tag Team Champion & TNA World Champion Mick Foley.

Odrama vin Laden never disappoints as his solo output accompanied by the number of group material he has in his back pocket are generally consistent within the underground & hip hop heads at large. Needless to say: I like All Are Guests in the House of God more than the one we got almost a year to the day ago in Tortured in the Name of God’s Unconditional Love. There are some occasional trap elements to the production even though it’s grounded in his traditional hardcore boom bap sound & a bit less misses with the guest performances.

Score: 4/5

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K.A.A.N. – “The Nightly News” review

Maryland emcee/producer K.A.A.N. back with his 10th EP. Getting his start in 2014, he would make a name for himself in the underground with an ever-growing discography like the Dem Jointz-produced Black Blood, the Ski Beatz-produced Requiem for a Dream Deferred, the Big Ghost Ltd.-produced All Praise is Due, Mission Hillz or more recently The Death of a Rapper with former Strange Music in-house producer MIKE SUMMERS a.k.a. 7 on hip hop’s 50th birthday over the summer & was more conceptual than some of K.A.A.N.’s latest output. So keeping in mind that 7 was sticking around for The Nightly News, it was enough have me sold in checking out.

The title track eerily sets the tone of what’s to come by chaotically painting the disparity that local news stations generally bring to those who tune in whereas “The Results of What Unfolds” goes into boom bap territory talking about being unable to believe what K.A.A.N. had witnessed. “The Weather Forecast” shows off a speedier flow predicting lots of clouds over pianos, kicks & snares just before “The War Room” gives off a jazzier flare instrumental coming live from a command center”.

“The Less Fortunate” is a more somber cut to start the 2nd half of the EP describing those who’re poor & struggling to make ends meet leading into “The World Health Report” bringing a quirkier beat the fold so Knowledge Above All Nonsense can talk about symptoms of health declining. “The Free Labor” continues to push towards the end of The Nightly News by returning to the boom bap reminding us what built our country, but then “The Debt Ceiling” closes the EP talking about money making the world go round over more kicks & snares with elements of jazz music too.

K.A.A.N. got back on the conceptual tip near perfectly over the summer with 7 & they both recapture that same magic. The Nightly Newsobviously poking fun at evening news shows excellently & 7 carrying that versatile boom bap production from The Death of a Rapper on it’s way over to here. Will easily become one of the best EPs he’s ever made.

Score: 4.5/5

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Danny Brown – “Quaranta” review

This is the 6th full-length LP from Detroit emcee Danny Brown. Emerging as a member of the Rese’vor Dogs in the mid-2000s, he would go onto form the Bruiser Brigade at the start of the previous decade & put out his debut album The Hybrid shortly after. This resulted in him signing with Fool’s Gold Records & delivering a near perfect sophomore effort XXX the next year, which was followed up with Old in 2013 as well as his 2016 magnum opus & Warp Records debut albeit Fool’s Gold’s last Atrocity Exhibition. But coming off the uknowhatimsayin¿ & more recently Scaring the Hoes with JPEGMAFIA this past spring, Danny’s finally releasing Quaranta as his final Warp album.

The title track is a cavernously dark opener with Danny talking about turning 40 a couple years ago whereas “Tantor” fuses elements of hardcore, abstract & experimental hip hop with elements of rock & even punk music thanks to The Alchemist looking to dock in the low tide & that it’s time for him to spit. Quelle Chris & Chris Keys both whip up a shimmery boom bap vibe for “Ain’t My Concern” reminding that “when it’s time, it’s time” that is until “Dark Sword Angel” talks down on the Bruiser Brigade leader’s competition over a dusty rap rock hybrid.

“Y.B.P. (Young, Black & Poor)” featuring Bruiser Wolf finds the 2 discussing the way they both came up over an uncanny trap instrumental from Skywlkr leading into “Jenn’s Terrific Vacation” brilliantly tackling the themes of gentrification fusing glitch hop, nu jazz & broken beat. Paul White provides groovier aesthetic to “Down wit It” detailing the lifestyle of this music shit just before the spacious “Celibate” featuring MIKE admits that they used to sell a bit and they don’t fuck around with the streets no more at this point in their careers.

The song “Shakedown” gives off a cloudier tone instrumentally provided by Kaelin Ellis advising to get your head out of the clouds & get yours now while the crushing “Hanami” talks about age catching up to him so he’s running from death as a result. “Bass Jam” fulfills Danny’s deal with Warp & ends Quaranta by atmospherically looking back on the days where it was hard for him to sleep as his mother played many classic bops.

“Cheaters” featuring Bruiser Wolf starts the deluxe run with both of them over this funky Black Milk beat pointing out the fact that those who cheat never win in the end & the final bonus track “Keep It to Me” was actually supposed to be the original closer, grimly linking up with Black Noi$e for this incredibly depressing cut revolving around drinking the pain away hoping things’ll change & smoking until he’s free from being trapped within his own thoughts.

For him to sign off on Warp Records by reflecting on the past 4 decades of his life is actually an album that’s more darker & personal in comparison to uknowhatimsayin¿ is exactly why he’s one of the illest to come out of this reviewer’s hometown in recent memory because this is his best since Atrocity Exhibition. It’s more predominantly conscious & experimental with some additional elements hardcore & abstract lyricism.

Score: 4.5/5

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ColleGrove – “Welcome 2 ColleGrove” review

ColleGrove is a southern hip hop duo consisting of Atlanta, Georgia rapper & songwriter 2 Chainz as well as New Orleans, Louisiana emcee, singer/songwriter, record executive & entrepreneur Lil Wayne. Both of whom have known each other since Tity Boi was Weezy’s weedman, which lead to Wayne appearing on the Playaz Circle’s debut album Supply & Demand and the rest is history. They eventually formed ColleGrove in 2016 & put out a decent eponymous debut album that same year, but was credited as a 2 Chainz solo effort due to Tunechi’s issues with Cash Money Records at the time. So it makes absolute sense to me for ColleGrove to put out a sophomore effort & be properly credited as a duo.

After the titular intro, the first song “G6” starts off the 2nd LP with an underwhelming trap instrumental despite the lyrics justifiably boasting themselves as the realest ones here whereas “Big Diamonds” featuring 21 Savage picks things up from the ratchet Mannie Fresh beat to the subject matter about being big dogs. “Presha” works in some whistling & hi-hats courtesy of Bangladesh looking to apply pressure of course, but then “Long Story Short” has a more soulful flare thanks to Big K.R.I.T. admitting this life they live are gonna be the death of them.

After the “Duffel Bag Boys” interlude, the horns from Apex Martin & Mike Dean on the official theme song for the WME Group-owned TKO Group Holdings division WWE’s developmental NXT brand “Millions from Now” are pretty fun talking about not remembering certain people once they become rich leading into the mediocre “Crazy Thick” jumping over a bass-heavy instrumental talking about thick women. “Transparency” strips the drums completely in favor of synths provided by Hitmaka seeking clarity just before “Significant Other” produced by Honorable C.N.O.T.E. & 30 Roc is a 2-parter that’s pretty much ColleGrove’s equivalent to “Life is Good” by Future & Drake except better.

After the “Ladies Man” interlude, “P.P.A. (Pretty Pussy Award)” featuring Fabolous has this sweet vocal sample chop throughout as the trio tell the special women in their life exactly what they deserve while “Oprah & Gayle” featuring Benny the Butcher moves on from the romantic themes in favor of dropping nothing but bars for 5 minutes over an exuberant DJ Toomp beat. Havoc’s sampling throughout “Shame” is absolutely crazy promising to leave your homies’ brains on you that is until “Bars” ruggedly talks about the disease they have.

After the “No Fent” interlude, “Godzilla” featuring Vory asks what’s a gorilla to the titular kaiju with the hi-hats being added after Vory’s sung-verse while “Crown Snatcher” talks about being exactly that over an explosive Murda Beatz instrumental. “Can’t Believe You featuring Rick Ross tackles the theme of untrustworthiness on top of a soulful STREETRUNNER beat & after the “Never Was Lost” interlude, the Dem Jointz-lazed closer “Moonlight” profoundly asks why we don’t run away referencing Mayweather Promotions founder Floyd Mayweather.

Truthfully: I had put ColleGrove eponymous debut on one my top 10 worst albums of 2016 list and it hasn’t grown on me a little bit over the course of the past 7 years since, but Welcome 2 ColleGrove is way more cohesive than the predecessor. The production’s tighter, you get a better look at their chemistry since the original had 2 Chainz solo joints on there & the features all give solid performances along the way.

Score: 4/5

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Nvy Jonez LKR & Chop the Father – “Undertaker vs. Kane” review

This is the brand new collaborative EP between Brooklyn emcees Nvy Jonez LKR & Chop the Father. Both of whom have made names for themselves within the underground for quite some time at this point, most notably Nvy whether it be the Chicken Spot collab EP series or his own solo output such as A.L.T.D. (Angels Loyal to Demons). However, they are joining forces & likening this occurrence to that of the best match at WrestleMania XIV in my opinion: Undertaker vs. Kane.

After the “WrestleMania XIV” intro, the title track is a rugged boom bap opener chockfull of cutthroat, gangsta, lyricism whereas “Modelo & Popeyes” works in a dreamy loop as well as kicks & snares talking about respecting you more if we make money together. “Fuego” featuring Xicano Vega takes a more suspenseful route instrumentally dedicated to everyone over 30 that’s still rocking one of my all-time favorite streetwear brands A Bathing Ape.

“Choke Slam” featuring Kesoh admitting they have bad tempers with no patience & a morbid atmosphere to the beat while Best Shot” featuring DFD Baby Lee gives off a twangier boom bap vibe talking about their caliber being able to make your head explode. “Trouble” featuring D-Rell ends the EP on a climactic note saying no one can take them down.

If you wanna hear 2 heavy-hitting MCs coming together to bring you the cage match of the century, then you’re gonna wanna give Undertaker vs. Kane a shot. Both of them match each other’s intensity the way they ping off one another, the production is predominantly rooted in the traditional boom bap sound & the features all add their own unique flavor to the experience.

Score: 4/5

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Meek Mill & Rick Ross – “Too Good to Be True” review

This is a brand new collaborative full-length LP between Miami Gardens, Florida rapper & Maybach Music Group founder Rick Ross as well as his biggest signing in Philadelphia, Pennsylvania’s very own Meek Mill. Both of whom have been working each other for over a decade at this point including songs like “Ima Boss”or “2Pac Back” & “Believe It”. It’s been quite a while since we’ve heard these guys crossing paths but to celebrate the 1-year anniversary of them reuniting, they’re giving back by teaming up & it’s Too Good to Be True.

“Shaq & Kobe” featuring Damian Lillard & Shaquille O’Neal is a decent hardcore hip hop/pop rap opener to the album referencing current AEW manager, WWE Hall of Famer & former SMW Heavyweight Champion Jake “The Snake” Roberts whereas “Star Island” works in some synths & hi-hats from ATL Jacob talking about having a palace at the titular location. “Go to Hell” goes for a luxurious sound courtesy of Cool & Dre reminding that the real recognize real leading into the bombastic “800 Karats” discussing that they’re the biggest bosses.

Fabolous comes into the picture for the vulnerable “Dead Last” produced by TM88 & a hook from Vory admitting that they feel a certain way towards those who be talking behind their backs, but then the instrumental on “They Don’t Really Love You” is a bit disappointing despite the subject matter addressing fake love. “$1M Trap” has this eerie atmosphere in the background mixed with some hi-hats of course throwing a party in the penthouse just before the exuberant “Grandiose” produced by Murda Beatz flexes with 2 bad bitches in the club tryna go up.

DJ Khaled heavily samples “Tha Shiznit” throughout “Above the Law” the point where it just gets annoying on impact even though I accommodate theme of the untouchables being unable to be touched while “Fine Lines” featuring Wale talks about how our lies scar so deep to the point where we can’t uncross things & the beat here is just ok, but I’d still take it over what Khaled did on that last track. “Gold Medals” encourages not to let anyone try to tell you what your place is over a groovy instrumental from Hitmaka & BongoByTheWay while the soulful trap hybrid “Iconic” advises to Never look at pussy from a bitches point of view.

“Lyrical Eazy” hooks up some keys & hi-hats bringing hardcore bars for only a minute & a half while “Pillow Talk” reps the gang over a revitalizing beat from both Tay Keith & Cubeatz. “Millionaire Row” feathering French Montana set out for more money over a born-laced trap instrumental boasting they were poppin’ Teslas before meeting it’s CEO Elon Musk & to end the album, “In Luv with the Money” is this enjoyable Ross solo cut with Southside behind the boards dedicated to the bread.

I’ll admit I wasn’t too sure about how I was gonna feel about this album since the singles were mostly average & that I wasn’t a fan of Meek’s previous album Expensive Pain all that much from a couple years ago. Surely enough, Too Good to Be True is one of the better mainstream collaborative efforts I’ve heard in a while & a decent debut under gamma.’s new distribution deal with MMG. Although the production can be spotty at times, the chemistry’s there & the features are tight.

Score: 3/5

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Stanwill – “Unstoppable” review

Detroit, Michigan rapper Stanwill ending his 2023 with his 5th EP. Coming up as 1/3 of the ShittyBoyz with Babytron & TR Dee signing to Lando Bando’s own The Hip Hop Lab Records, he eventually branched out on his own during the COVID-19 pandemic off the debut EP $camwill as well as it’s successor Gifted & the debut mixtape Van Gundy. He also went Full Auto for his 3rd WP & coming off debut album Big $hitter followed by his last EP Big $hitter: Lost Files & of course the sophomore effort Still $hittin’, he’s feeling Unstoppable.

“Potty Trained” begins with a Detroit trap instrumental talking about the Dog $hit Militia pretending to not know the score whenever they be catching Ws whereas “Super Mario” references former 11-time WWE Tag Team Champions, 2-time TNA World Tag Team Champions, ROH World Tag Team Champions, HOG World Tag Team Champions & ΩCW Tag Team Champions The Hardy Boyz.

Moving on from there, “Ball or Fall” talks about people only being there for you when you’re balling out & then turning their backs as soon as you start falling off while the self-produced “R&B” cautions that he’ll make the chopper sing soon as he catches an opp in his sights. “Hide & Seek” admits to checking his bank account when he gets depressed while “No Cap” makes reference to the WME Group-owned TKO Group Holdings division WWE.

“Song 7” by the ShittyBoyz, Fordio, J1Hunnit, MJPaid, Prince Jefe & ScrumbleMan nears the conclusion of Unstoppable with a THHL posse cut produced by Danny G & Jakesand while “Impossible” finishes up the EP with Stan talking about the thought of him being stopped becoming an impossibility at this point getting back on track after having to hurdle over some obstacles.

Still $hittin’ was an admirably shortened sequel to Big $hitter in spite of others saying it wasn’t on par, but Unstoppable finishes up Stanwill’s year with an extended play that fans of Detroit trap will probably like as much if not more than the full-length we got from him several months earlier. His labelmates all make stronger guest appearances than Still $hittin’ & the production is what you’d expect out of this style of music.

Score: 3.5/5

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