Chief Keef – “Skeletor” review

Right in front of us is the 6th studio LP from Chicago, Illinois rapper, singer/songwriter & producer Chief Keef. Rising to stardom over a decade ago off his 6th mixtape Back from the Dead & the full-length debut Finally Rich, he would go on to become a progenitor for drill music popularizing it in the Windy City inspiring the likes of Lil Uzi Vert & 21 Savage or even Billie Eilish. Other standouts in Keef’s discography include Bang 2, Almighty So, Back from the Dead 2, GloToven, 4NEM, the Mike WiLL Made-It produced Dirty Nachos & Almighty So 2. It’s already been a couple years since the latter, returning to end the first quarter of 2026 with Skeletor.

The self-produced “Break Down” aptly sets the tone of what’s to come even if it’s said to be an outtake from the Almighty So 2 sessions whereas “The Real Chief Keef” boisterously calls for all these puny fuckboys to get their paper up. “24Hrs” works in some 808s & bells talking about being up every hour of the day just before “Video Shoot” featuring Ian proved to be an underwhelming trap single being fed up with hoes telling sob stories.

“Mark of Buddha” continues from there talking about bleaching his eyes after everything he’s seen over the course of his career leading into “Harry Potter” making vast improvements above the previous single blending hardcore hip hop, trap, the Flint sound, Chicago drill & cloud rap confessing he would’ve gone to the NFL had his music career failed. “Only for the Night” ends the 1st half going full pop rap additionally showing off his ear for sampling while “#2” hops over some synths keeping that green & blue shit on him.

G Herbo joins Keef on “Slide” to get on some Chicago drill gangsta rap shit together for 6 minutes while “Shrek & Donkey” produced by Murda Beatz energetically talks about how zooted he is. “PS5” featuring Rich the Kid finds both of them speaking of looking at Satan in his eyes while “Good” checks in on those near him making sure they’re fine. “Talking Ish” featuring Ballout was a decently cloudy trap single discussing of the gangsta lifestyle & “Doja” ends with him flying straight to the bag.

In no way would I consider Skeletor to be in the same field as Almighty So 2 & 4NEM or even Dirty Nachos, but I did enjoy a majority of what this album had to offer. His production puts a bigger emphasis on trap similarly to 4NEM, except it’s not as adventurous other than the secondary influences of Chicago drill & pop rap as opposed to the latter experimenting with subgenres like crunk. I also felt that only a couple guests stood out, which was justified by most of them getting outperformed.

Score: 3.5/5

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Yeat – “A Dangerous Lyfë & A Dangerous Love” review

Brand new double album & the 6th overall from Portland, Oregon rapper Yeat. Emerging in 2018 off his debut EP Deep Blue $trips, he’s been dominating the mainstream since 2021 whether it be him dropping a plethora of projects or receiving cosigns from the likes of Drake & Earl Sweatshirt. He eventually signed to Geffen Records, who backed his sophomore effort albeit major label debut 2 Alivë few years ago & it’s companionable deluxe EP Gëek Pack shortly after. Coming off his 5th mixtape Lyfë a few summers ago alongside Aftërlyfe & the experimental Capitol Records debut 2093, he went back to his roots to rep the Lyfestylë & came off a Dangerous Summer to describe A Dangerous Lyfë & A Dangerous Love.

“Purpose General” produced by BNYX of Working on Dying atmospherically begins the 2-disc adventure talking about paving checks after paving the way for others whereas “Face the Flame” featuring YoungBoy Never Broke Again finds the 2 teaming up so they can describe getting geeked off ecstasy, going for a more trap vibe. “Lose Control” samples “Someone Saved My Life Tonight” by Elton John talking about passing the wheel to God leading into “Griddlë” admits to falling in love with a freak.

We have BNYX bringing the bells back for “What I Want” boasting that his sales double every time he puts out new music just before “Liv Likë Dis” asks his girl why his wealth got her acting funny over an Honorable C.N.O.T.E. & Sonny Digital instrumental. “Tallër” has a more lively vibe to it courtesy of Cade talking about him trying to make his money larger than the rest while “My Way” tritely tells his partner that she has to make up her mind & take as much time as she needs.

“Let King Tonka Talk” was a disappointing single largely because of the unnecessary Kylie Jenner feature, which is a shame because I like the way Dylan Brady fuses jerk & industrial hip hop with pop rap. “Dangerous House” however picks up with a 2-parter that Shlohmo cooked up talking about keeping things hazardous around his parts while “No More Ghosts” featuring KiD CuDi ends Disc 1 with both of them fed up with everything that isn’t real.

To begin Disc 2, the song “2Nite” embraces a more standard trap sound once again talking about waiting at the fire & his detractors not wanting to see him catching Ws while the self-produced “Geek Luv” describes a kind of love where the sex feels like a drug. The beat on “Naked” is ok except it could be my least favorite track here because it feels like a repetitive 92 second interlude, but then “Went Wrong” decently talks about him & an ex waitin’ for their relationship to fail.

“Real Life Shit” incorporate some heavy synthesizers admitting that he’s been looking for a reason to tweak & after “My Time” instrumentally gives props to The Neptunes talking about going bigger than he can imagine since he was destined for this music shit, “2Planës” reunites with Internet Money Records in-house producer Synthetic sampling the 2023 leak “Wanna be më” flexing that he has a couple airplanes respectively carrying money & his own people.

The song “Silk Facë” brings the synths back in full effect to push closer near A Dangerous Lyfë & A Dangerous Love’s conclusion talking about feeling the same & looking to run shit up again while “Back Home” featuring Joji returning to their respective cribs because something at the function feels off to both of them. “Up From Here” ends the LP talking about going rock bottom & elevating past that point.

Originally announced nearly 2 years ago already, A Dangerous Lyfë & A Dangerous Love has since evolved into a double full-length that I’d sincerely have to put behind Lyfestylë as the 2nd weakest project Yeat has ever put out. I can appreciate him telling 2 completely different stories across the hourlong runtime, although the predominant trap production feels like he’s playing it safe & a few of the guest appearances were pointless.

Score: 3/5

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Fliptrix – “Elevation” review

Here we have the 11th solo LP from South London, England, United Kingdom emcee Fliptrix. The founder of High Focus Records as well as a member of The 4 Owls, he made his debut in 2007 off Force Fed Imagery followed by Theory of Rhyme and later Third Eye of the Storm & The Road to the Interdimensional Piff Highway. Polyhymnia came out a couple years later as did Patterns of Escapism & Inexhale. Light Work was alright & Mantra #9 took a more mature approach, coming off the Leigh Brothers-produced Dragonfly to have Forest DLG a.k.a. Telemachus soundtrack his Elevation.

“Teacher” begins with them providing a ray of light during these troubling times whereas the 3rd single “Transform” takes the soulful boom bap route instrumentally providing more insight penmanship. “1 Heart” continues from there brutally observing the modern condition leading into the 4th single “Better Watch Them” jazzily leans towards conscious vibe lyrically.

As for “33 Vertebrae”, we have Flip embracing a hip house sound talking about the part of our body that helps us elevate just before “The Divine Feminine” makes a powerful statement condemning misogyny. “Energy! Energy! Energy!” featuring General Levy fuses hip hop with jungle for a captivating teaser that could be played at EDM festivals to come while the 2nd single “Floodlights” talks about rebellion.

“Who’s the Saviour?” calls for everyone listening to rise up while the 7th single “Freedom?” featuring Coops talks about the world spiraling downward in real time. “Do You Wanna See” featuring Da Flyy Hooligan dismisses those who don’t wanna see the forest like they say they’d like to while “Dangerous” by The 4 Owls featuring Babylon Dead, Coops, Cracker Jon, Dabbla, Farma G, Harry Shotta, Jman, Kemastry, King Kashmere, Ramson Badbonez, Renelle 893, Sparkz, Truemendous, Verbz & Vitamin G comes through with an outstanding High Focus posse cut.

Continuing the 2nd half, “Tears in the Eyes of Gaia” has a more emotional approach to it talking about the way perceives beauty while “Chilling” dedicating this one to all the people who’re typically calm out in public rather than wylin’ out or getting hyped. “Ups & Downs” talks about life being similar to a rollercoaster while the 8th & final single “Visionaries” featuring Frisco adamantly expresses their desire of making perfect use of their final breaths.

“Mighty” featuring Kamakaze joins forces for a grime track cautioning not to make any moves unless you’re strong enough to bare the tussle while “It Ain’t Easy But I’m Surfing” talks about staying focused & determined although it’s not a breeze to do by any means. “I Be on My Way” sends off the Elevation with Flip discussing that the pain he’s endured can be seen on his face & carving his own path for 16 years via the biggest underground UK hip hop label.

Desiring to make something completely different compared to Dragonfly, Elevation takes the maturity of it’s predecessor & Mantra #9 by delivering an album that joins the ranks of Fliptrix’ last couple except I love this one slightly more. Telemachus’ production is more experimental than the Leigh Brothers’ was & Fliptrix’ lyricism aims to lift the world to higher state of consciousness & trigger conversations regarding the state of the world in the hope of enacting positive change during everything that’s happened in these past 14 going on 15 months. There are also a few guests that he’s never worked with before & did so in attempt to sought out new energies after collaborating with all the greats in his scene.

Score: 4.5/5

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Elcamino – “Bruv” review

2nd extended play of 2026 & the 22nd overall from Buffalo, New York emcee & singer Elcamino. Blowing up almost a decade ago off his self-titled EP with Griselda Records, his profile increasingly grew after being followed up by Walking on Water mixtape in the summer of 2018 along with dropped 2 studio albums & a few EPs the year after that. They Spit on Jesus proved to be a well received Black Soprano Family Records debut becoming the first Camino project that I had covered since On the 3rd Day & that much like No Weapon Formed Against Me was an improvement over some of the material we’ve gotten from him in recent memory. Real Bad Man would produce The Game is the Game followed by Ill Tone producing Built for Cuban Links named after Raekwon’s iconic solo debut Only Built 4 Cuban Linx… produced by RZA in addition to flexing his Millionaire status & Full Moon showing a heavy Future influence. Martyr’s Prayer III produced by 38 Spesh made for a gratifying conclusion to the beloved trilogy as did Mino, but now he’s coming off the Ill Tone-produced God is Love to drop Bruv.

“London Bruv” hops over a soulful boom bap instrumental to give his flowers to the United Kingdom’s capital whereas “Green Beret” produced by Ill Tone continues the chop up the soul samples talking about those kind of people not getting a whole lot of love. “Adele” keeps the crooning chipmunk soul vibes going using the same rhyme scheme for a couple minutes while “You’re Here” talks about doing it all for the glory & taking pride in the joys of him being African American.

The song “Getting Old” continues Bruv’s last leg going completely drumless to speak of knowing he’d lock himself in since there was always more in store for him than what he’s already achieved while “Eating Steaks” brings back the sampling techniques so he can talk about being in Paris for Fashion Week last year, embracing some jazzier undertones additionally. The closer concludes the EP with a chipmunk soul outro calling out a backstabber who doesn’t wanna see the “Other Side”.

Although I lean a little more towards God is Love, I can appreciate Elcamino getting in passport mode for Bruv since France & the UK have always been my 3rd & #1 biggest audiences outside of the States respectively. The production’s more soulful than it’s primarily drumless predecessor & Meech details a hustler philosophy with runway lighting including overseas backdrops, designer details & war-ready bars balanced by flashes of family, memory, the weight of who didn’t make it, grief, pressure & discipline through flexes that he earned himself.

Score: 4/5

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iyrus – “III” review

Up-&-coming Philadelphia, Pennsylvania rapper & producer of Nigerian descent iyrus is back for the final installment of his ongoing extended play trilogy. Emerging in the summer of 2024 after doing an On the Radar freestyle, he would later introduce himself more properly last spring off his debut EP Resurgence until continuing to make waves with I & II. It’s only been a couple of months since the latter began turning more heads & III has dropped exclusively on his SoundCloud page.

“Scarlett Johansson” begins with him looking to turn up the streets whilst driving a trackhawk Jeep over a sample-based trap instrumental whereas “Igbo Man” turns up the rage so he can talk about the way he’s been living. “Noise” featuring diamond* finds the 2 boisterously boasting their top shotta statuses leading into the self-explanatory “Make Money” talking about waking up every single day to stack up his bread.

Wrapping up the 1st half, “oK” discusses walking off the stage & going back to his hood a lot similarly to Miley Cyrus prior to “Blessed in Hell” incorporating some heavy 808s to talk about his confidence of always doing all of this without needing any help. “Spam” featuring Zukenee claims to be damned if they fall off harder than Lil Xan when both of them are more talented than he ever was while “Big Red Dog” talks about paying the cost of any artist wants to be at his level.

“Get Money” winds down III’s final minutes flexing that he’s been letting his expensive habits get to him, coppin’ an expensive palace out in Calabasas over more rage beats & once “Kunta Kinte” talks about going from middle schoolers insensitively calling him the main character of Roots: The Saga of an American Family during his adolescence to the one their bitches want, “Pablo” ends the EP talking about feeling like Gregg Popovich whenever he’s in Texas & the reputation he has in his own hometown.

Local artist slayr has been making a lot of waves this month because of his 2nd mixtape Half Blood being reissued, recently joining ApolloRed1 & 9 Vicious in the studio last weekend. iyrus on the other hand already began revealing his artistic potential back in January although it hasn’t been fully realized this, continuing to flourish throughout his 4th extended play. I can appreciate him taking a backseat in terms of production compared to its predecessor like I to focus more on lyrically spazzin’ alongside both guests.

Score: 3.5/5

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Pradabagshawty – “5 Problems” review

Brand new mixtape & the 3rd overall from Columbia, South Carolina born albeit Atlanta, Georgia rapper/producer Pradabagshawty. Introducing himself in the spring of 2023 off Bloxk Addiktion, his popularity within the plugg subgenre of trap continued to grow last year by putting out 3 more EPs in 1 Love as well as his Cegular Records/Sony Music debut 10 Freak Ho’s & of course and Forever & After. His last few projects B What You B as well as Home Invasions and Red Flags & Roses have become his most celebrated material thus far, coming off B45P to drop the main course.

“RL Gang” hops over a plugg beat to get things going talking about rocking out a sold out show with all of his homies whereas “I’m Upset” boasts of him having an X on his chest & only doing what he feels is necessary. “Drop Dat Bag” gets back on a lavish plugg vibe instrumentally talking about giving someone some cash only for them to come back & blow it all prior to “Beat It” fusing cloud rap & rage for a nod to the late Michael Jackson’s iconic single of the same name.

b4l.scrap’s appearance on “Hootie Hoo” doesn’t really captivate me that much despite returning to a pluggier sound & the gangsta themes Pradabagshawty’s become known for leading into “My Ho” talking about his girl pulling up whenever she’s feeling horny. “Chopstick” incorporates more hi-hats as synthesizers explain explaining that life’s too short to be pissed off daily just before “Ain’t Wok” talks about missing his high when he’s feeling low.

“Domain Expansion” kicks off the 2nd leg of 5 Problems observing a snake who’s desperate to hang out with his crew over a self-produced beat while my favorite single “I Know” produced by Whyceg talks about treating his bitches like gold & playing it cool the second they turn their backs on him. “I’m Scared” discusses the guy having a yerc waiting for him at their designated spot while “4Ever” references WWE Hall of Famer, former 3-time WWE world champion, 3-time WWE United States Champion, 2-time WWE Intercontinental Champion, 9-time WWE tag team champion, 8-time WWE Cruiserweight Champion, The Crash’s inaugural Mundial Pesocompleto Campeon & アイアンマンヘビーメタル級チャンピオン Rey Mysterio.

Rounding out 3rd, the song “What I Was Sayin’” talks about the fact he’s done a lot to get his career moving full motion while “Gun Kick” featuring yotti contains one of my favorite instrumentals throughout the tape thanks to Whyceg again doing an average job at depicting the gangsta lifestyle they’ve come to know very well. “Tin Foil” cloudily speaks of staying loyal to the streets after everything he’s done for his streets & after “Night Sight” clarifies to a woman who had her chance to be with him that she filed it up, “Lies” spends the last few minutes talking about his relationship experiences.

B45P still remains one of the weakest things Pradabagshawty has done ever since his Cegular Records deal came to fruition alongside 10 Freak Ho’s, but 5 Problems thankfully makes a couple of improvements although I wouldn’t rank it up there amongst his strongest output like Forever & After or Red Flags & Roses. The argument of him being the greatest artist on the label can still be made, although both guests leave little to be desired & the plugg production’s a tad bit superior than the prelude EP almost 2 months ago.

Score: 3.5/5

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J Reno – “The Dirttape 2” review

Here is the 3rd mixtape from Windsor, Ontario, Canada emcee/producer J Reno. Introducing himself over 2 decades ago off his debut tape Ground 0 as well as the full-length debut Unleashed & the sophomore effort The Lunatic’s Back, he would follow it up with 6 more albums preceding Crossworm signing him to Dirtcore Music: Lost in the Dark, Politikilla, Into the Fire, Welcome Home, Blood, Guts & Boom Bap and Me & My Demons. His debut for the Grand Rapids label The Dirttape came out a cool months earlier & the bridging portion of the trilogy has arrived.

After the “Press Play” intro, the first song “Consume” begins with this bloodthirsty boom bap beat talking about facing repercussions of playing haunted cassettes whereas “Fuck It Up” goes for a trap vibe instrumentally talking about him not being here to save a soul. ZOT’s appearance on “It’s Hip Hop” doesn’t really do much for me despite the topic of this culture running through their veins while “All In” somberly talks about the rap game being like a casino.

“Catch a Body” ends the 1st half continuing to embrace the influences of trap explaining that social media nowadays would be the new way of giving yourself a lobotomy leading into “Smoke” featuring Dr. Gigglez finds the 2 teaming up for an average stoner’s ballad. “In a Box” featuring Madd Maxxx would be my favorite collaboration of the 4 talking about people trying to pigeonhole them over a horn-inflicted beat just before “Eat You Alive” brings some orchestral influences to the picture warning that the struggle will consume all.

The track “No Compromise” featuring JxmesLxmb rounds out 3 talking about how there isn’t a check big enough for them to sell out & nobody having the power of being persuaded regarding what’s real while “Do Something” hops over some pianos for an attack directed at someone who isn’t anything like him & has no respect at all. “Step Back” ends by taking an introspective approach topically, feeling like a failure at wanting to give the ones he love an easier life than his own origins.

Now that there’s only a couple months left until the concluding chapter drops, The Dirttape 2would have to be my least favorite of this entire saga although the good moments outweigh the bad. Him carrying the concept of the series’ original installment revolving around the Tape Keeper forward & the increasingly varied production are both 2 of the biggest pros this sequel has going for it, but the guest list doesn’t make that much of an impression on me like the previous Dirttape did other than a couple of them.

Score: 3.5/5

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Dylan Brady – “Needle Guy” review

St. Louis, Missouri singer/songwriter & producer Dylan Brady dropping his 5th extended play under his own imprint Dog Show Records in tandem with Atlantic Records. Known for being 1/2 of 100 gecs, he would eventually carve a path of his own by releasing Saxophone Joe & Taste the Rainbow as well as the full-length debut All I Ever Wanted & Choker respectively. Dog Show would eventually catch the attention of Mad Decent, whom Dylan signed to for his previous EP Peace & Love. 8 years later, the Needle Guy ready to make his major label debut.

“Throat Song” co-produced by Skrillex kicks things off with the weakest composition of the bunch due to how repetitive it mostly is with the central Asian throat singing whereas “Stay High” could be my favorite instrumental here, leaning heavier towards the festival progressive house side of things. “Ashley” embraces a Dutch house vibe decently remixing the Afrojack single “Ashley” while the title track finishes with Dylan blending dubstep, tearout & hard techno

Peace & Love almost a decade later has been widely considered to be the finest entry of Dylan Brady’s solo career, but Needle Guy returns to the averageness a lot of his individual output tends to suffer from. His production’s more catered towards the sounds of hardgroove techno, tearout, Dutch house, festival progressive house & tribal house than it’s hyperpop & alternative R&B predecessor except it isn’t as groundbreaking for those styles of electronic dance music than I would’ve hoped.

Score: 2.5/5

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BTS – “Arirang” review

BTS is a boy band from Seoul, South Korea consisting of RM, Suga, J-Hope, Jin, Jung Kook, V & Jimin. Their full-length debut Dark & Wild under Bighit Music & the HYBE Corporation was moderately received although Wake Up & Youth both proved to be less favorable, bouncing back with Wings & dividing audiences again by dropping Face Yourself a couple years later. Love Yourself: Tear as well as Map of the Soul: 7 & BE would continue to polarize the musical spectrum, reuniting following the completion of their military service for their 9th album.

“Body to Body” gets things going with this k-pop/pop rap intro expressing the lustful desires towards their romantic interests whereas “Hooligan” talks about acting a fool again & wanting everyone to watch these beat go crazy. “Aliens” fuses trap with the k-pop & pop rap sounds thanks to Mike WiLL Made-It confidently assuring the world that this’ll be one of the biggest jams of the year just before “FYA” produced by Diplo & Flume sings about a woman willing to dance on fire.

Pluss & Mike WiLL run it back with BTS on “2.0” pulling inspiration from trap once again so they can remind everyone of how they do but after the “#29” interlude, “Swim” sings to their lovers about spending their lives watching them & how they’d only want to be beside them. Tame Impala gives “Merry Go Round” a bit a synthpop vibe realizing their lives are broken rollercoasters only they themselves can blame for it while “Normal” sings about what they would like to consider the usual

“Like Animals” continues the 2nd half of Arirang with this atmospheric pop ballad assuring the love of their lives to eat this life until their hearts are full while “they don’t know ‘bout us” combines elements of trap along with pop rap & k-pop singing about people not knowing shit regarding them. After asking “1 More Night” to stay with their partners, “Please” makes it clear to them that they’ll take another step closer when the world falls apart & the final song preceding the “Armyrang” outro ends by singing about following their loved ones “Into the Sun”

It was funny to see the “Dynamite” music video being included during season 10 of MTV’s hit series Beavis & Butt-head on Paramount+ preceding their move to Comedy Central, but I’ve never considered myself a fan of BTS’ music outside of that & Arirang achieves the expectations of becoming the most enjoyably consisting LP they’ve ever made. Their k-pop style secondarily explores the sounds of pop rap, alt-pop, trap, synthpop, pop, experimental hip hop & contemporary R&B for a reunion that offers a glimpse of new perspectives.

Score: 3.5/5

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underscores – “u” review

underscores is a 25 year old singer/songwriter & producer from San Francisco, California who dropped 6 extended plays between 2015-2020 including Trust Exercises, Grawlix, Air Freshener, Skin Purifying Treatment, We Never Got Strawberry Cake & Character Development!. Her full-length debut Fishmonger would follow as would Boneyard a.k.a. Fearmonger & the sophomore effort Wallsocket, the latter 2 being widely considered as her greatest work. Coming off the Covergirl: Originally by Sonny EP in 2024 & of course producing a few tracks for Danny Brown’s 7th album Stardust this past fall though, she’s signing to Mom + Pop Music her 3rd studio LP.

“Tell Me (U Want It)” begins with a self-produced electropop, dance-pop, hyperpop, complextro & slimepunk single that she considers “Music for my iPhone spy movie” singing about direct communication in a relationship whereas “Music”blends electropop, hybrid trap, hyperpop future bass, bubblegum bass, colour bass & pop rap sampling “Gunk” off Fishmonger singing about feeling the harmony. “Hollywood Forever” issues a clear statement that she doesn’t want to be buried in the titular cemetery while “The Peace” goes a capella to talk about not speaking unless spoken to.

The late SOPHIE & Arca are both key inspirations of “Innuendo (I Get U)” confessing to part of her hope she can understand this person she’s addressing leading into “Lovefield” hypnotically mourns a type of love that was unrewarded. “Do It” combines electropop, dance-pop, contemporary R&B, complextro & electro house singing about not committing to a relationship due to the riskiness of it but once she sensss a “Bodyfeeling” she doesn’t tell her partner of, “Wish U Well” ends the album wanting nothing the best out of a woman who moved on.

Expanding the intricately high impact world continuing to be built by its own creator, Mom + Pop introduces underscores as part of their roster by presenting the most accessible entry in her entire catalog & what I’m sure will be amongst 2026’s most lauded opuses. Her songwriting’s more emotionally charged than everything she’s done previously & the electropop production culminates many different era of career. More specifically the styles of electronic dance music, dance-pop, alt-pop, future bass, bubblegum bass, hybrid trap & hyperpop.

Score: 4.5/5

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