Your Old Droog – “anything’s possible” review

48 hours following it’s announcement, Ukrainian-American lyricist Your Old Droog’s 10th EP is here. Breaking out through his self-titled debut, many actually first thought he was an alter ego of Nas given that their voices are somewhat similar. He eventually became a legend in his own right off later projects such as Packs as well as It Wasn’t Even Close, TIME & the Nicholas Craven-produced YOD Wave. The 4 last EPs he’s given us YOD Stewart, Yodney Dangerfield, The Yodfather & The Shining weren’t as great in my opinion yet most certainly had their highlights at the same time. Movie became a depiction of his life on wax & wants y’all to know anything‘s possible.

“Game 7” produced by Khrysis starts with a soul sample explaining that practice being the most important thing whereas “Confetti” featuring Count Bass D finds both of them talking about being willing & ready to feel the tiny pieces of streamers raining down. “No More” goes for a rap rock vibe admitting this shit doesn’t feel special anymore & after “Vanilla Fudge” flexes that not many can see him with the grammar, “Bronny” finishes by talking about having sons in the game already over a Kenny Segal instrumental.

Literally the only other time we’ve gotten to hear YOD in 2025 was his feature on “The Rose Bowl”off The High & Mighty’s reunion album Sound of Market, so it makes me happy he gave us a 12 minute extended play to hold fans off until Droogie Otis’ highly anticipated full-length debut. The production feels equally consistent as Movie’s was 17 months ago with the anything’s possible name playing a huge role conceptually.

Score: 4/5

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MAVI – “The Pilot” review

Here we have the 4th EP from Charlotte, North Carolina abstract lyricist MAVI. Emerging off his full-length debut Let the Sun Talk a day before his 20th birthday, he would go on to land a verse on “El Toro Combo Meal” off of Earl Sweatshirt’s 2nd EP Feet of Clay a month later as well as preluding the further well received Laughing So Hard It Hurts in the form of his previous EP End of the Earth. His 3rd album Shadowbox celebrated it’s 1-year anniversary this summer & The Pilotlooks to start the final week of November after signing to Loma Vista Recordings.

“Heavy Hand” is a lo-fi boom bap vibe to the beat talking about using his eyes because his heart’s somewhat like a blindfold whereas “Triple Nickel” featuring MIKE finds the 2 jazzily discussing pushing people far back when they see their dreams creeping up closely. “Silent Film” works in a psychedelic guitar riff getting honest regarding him never learning & not needing anyone to worry about him while “G-Annis” produced by Reuben Vincent references the current WWE Intercontinental Champion John Cena.

Kenny Mason joins MAVI on the drumless “Typewriter” warning that anyone comparing them to artists below them will have lost credibility because of it “31 Days” hooks up a vocal sample telling us he’s been sober for over a month now. “Denise Murrell” goes for a jazzier vibe once again with a flute heavy instrumental talking about his grandma calling him asking when he’s gonna stop making sad shit prior to Jay Versace incorporating some bare sampling for “Mender” telling this romantic interest that they’re gonna be together some day.

“Landgrab” featuring Earl Sweatshirt began The Pilot’s rollout with a drumless lead single trading consciously abstract bars back-&-forth with one another while the 2nd & final single “Potluck”featuring Smino blends trap, cloud rap & neo-soul talking about detractors hating all they want. “Jammers Anonymous” featuring Niontaydeserves a mention of it’s own whether it be the plugg/Philly jerk beat or both artists nailing it with the “Landgrab” delivery for a 2nd time.

Taking control of this new sobered up version of himself in a time of constant travel as well as growing exposure to the arts/design & alienation from home, MAVI introduces himself as part of the Loma Vista roster with a 26 & a half minute EP setting the stage of what we can expect out of his 4th album 1st in Flight next year. The production explores old & new sounds for him from boom bap to jazz rap, drumless, lo-fi hop, trap, cloud rap, neo-soul, plugg & Philly jerk bringing a tight list of guests on board for less that half of it to properly celebrate his sobriety.

Score: 4.5/5

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Von Pea – “Putcha Weight on It” review

Brooklyn, New York emcee/producer Von Pea reuniting with The Other Guys for his 4th solo LP. Currently 1/2 of Tanya Morgan with Donwill, he would later embark on a solo career with 2007 debut mixtape Grand Vonye as well as it’s follow-up So Motivational: The Most Skullduggery of Mixtapes & the full-length debut Pea’s Gotta Have It. Right after the Duly Noted. EP was when Mighty Joe & Isaiahstarted working with Von however, producing the To: You EP along with the sophomore effort The Fiasco & the I’m Good Luv, Enjoy EP respectively. Last we heard from Von by himself was his previous album City for Sale & Duly Noted 2, running it back with The Other Guys suggesting to Putcha Weight on It.

“More Johnny” opens up with a boom bap instrumental explain it that his legendary status will continue to be spoken of even when he’s gone whereas “Roadblock” featuring Che Noir finds the pair talking about people clapping at barriers & trying to rap with Black Thought. The title track by Tanya Morgan featuring Skyzoo gives off a dusty jazz rap vibe coming in stronger than initially said while “Lights On” talking about phase 4 being the type of shit that keeps the power on.

Meanwhile on “Slide Off with Her Homie”, we have Von continuing to bring that old school boom bap style to the table telling us what he’ll do to a skeezer if she doesn’t see how dope he is until “Hains Point” heads for a jazzier direction once more spitting like they gave him some kind of bribe. “Knew It All” featuring Oddisee crosses over elements of jazz rap & boom bap responding to the people who act like they know everything just before “Love Over Like” soulfully talks about romance.

“Shown Up Me” begins Putcha Weight on It’s final moments by having the drums constantly fading in & out like ocean waves flexing that be doesn’t need more than 7 people whenever he makes an album leading into “Bway & Myrtle”talking about trying to get on during the off-season sampling an organ. “Root for the Villain” sends it all off with a funky outro remembering one of hip hop’s greatest lyricists & producers, which happen to be none other than the late MF DOOM.

The Fiasco up until this point has been my favorite Von Pea solo effort & to commemorate it’s 8-year anniversary passing yesterday, Putcha Weight on It improves from the divisive feedback I’m Good Luv, Enjoy received although I personally didn’t mind when it came 10 months succeeding the album that preceded City of Sale. He & The Other Guys liken their chemistry to the late King of Pop himself Michael Jackson & the revolutionary composer Quincy Jones linking back up after 7 whole years for a collection of jazzy boom bap hits.

Score: 4/5

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Tezzus – “##FilthyLikeMax” review

Atlanta, Georgia rapper Tezzus making his YSL Records debut with his 8th EP. Introducing himself with his first few EPs Hard2Kill as well as Hellraiser & Everyday’s Halløween, his debut mixtape Tezzus Khrist last holiday season would significantly elevate his profile locally as did the handful of appearances he made on The XA Tape earlier this year. He’s given us the Søufside collaborative EP with Percaso, Backrooms, King Phønk, I Phønk, U Phønk and Tezzy Pendergrass until Young Thug signed him following 9 Vicious’ departure due to him & Tezzus beefing. Nonetheless, getting ##FilthyLikeMax a couple days succeeding Savior was still a welcoming surprise.

“Animal 🐕‍🦺🐍🐲” starts with an industrial hip hop intro likening himself to a beast whereas “I’m Røyal 👑🤴🏿👑” goes for a rage-inducing vibe talking about his royalty status. “Bacccarat 💁‍♀️🛍️💝” featuring Skaiwater & 1300SAINT finds the trio buying out a while Chanel store over a hypertrap instrumental but once “Krøssed Ø Gang 🚂🚫🖤” featuring billi0n & ShawtyRokk angrily refuses to argue with peasants, “Life øf a Dølla 🕊️❤️‍🔥🕊️” finishes by remembering maxon over a rage beat.

Thug continuing to shift his focus towards rebuilding YSL Records ever since Uy Scuti polarized both critics & fans alike couldn’t have been a smarter move & ##FilthyLikeMax properly introducing himself to the label over 84 hours succeeding his labelmate’s greatest body of work the previous weekend. The production is more prominently centered around the rage subgenre of trap as opposed to Tezzy Pendergrass’ blatant pop rap influence as he & all 4 guests pay tribute to maxon a week after his death.

Score: 4/5

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Daz Dillinger – “Rowtation” review

This is the 23rd solo LP & 3rd of 2025 from Long Beach, California rapper, producer & songwriter Daz Dillinger. Some of his cousins include Brandy & her brother Ray J, WWE Hall of Famer Snoop Dogg & the current AEW tbs Champion, CMLL Mundial Femenil Campeon, RPW British Women’s Champion and the new ROH Women’s World Television Champion Mercedes Moné. He eventually signed to Death Row Records & became an original in-house producer under the guidance of it’s co-founder Dr. Dre, forming Tha Dogg Pound with Kurupt not too long afterwards. Daz finally made his solo debut on ‘98 by putting out Retaliation, Revenge & Get Back on Death Row until departing rather quickly to put out 20 more albums of his own with almost 3 decades of experience in the game. Retaliation, Revenge & Get Back 2 took it back to the essence of his debut earlier this summer and Retaliation, Revenge & Get Back 3 a couple months ago found some clarity regarding his complicated history with Tha Row. In preparation for Kurupt’s upcoming 7th album said to be fully produced by DJ Battlecat though, Dilly’s gonna make sure the west coast keeps him in Rowtation.

After the intro, “I’m Daz Dillinger” begins by properly reintroducing himself over a self-produced g-funk beat whereas “I’m a Dogg from Tha Dogg Pound” keeps that same vibe talking about coming up from the underground. The only single “DPGC” dabbles with trap maintaining the lowest prices ever when he touches the plug while “Indictment” soulfully looks for the line between the truth & divinity.

“Snitches” nears closer towards the end of Rowtation’s first half expressing his disdain for rats leading into “Fresh Outta Jail” talking about changing his fate now that he’s home from the penitentiary teaching the young shooters how to move right. “BangBang” once again takes the trap route instrumentally to spit that gangsta shit although I personally don’t care for the auto-tuned hook just before “Smokin’ on the Best” talks about the type of weed he stays puffin’.

As for “The Streets Will Miss You”, we have Daz reminiscing over a big homie of his who passed away while “When a Gangsta Loves a Woman” talks a out knowing when a G is lovestruck. “Superstition” fuses soul & g-funk speaking of chasing shadows regularly while “West Coast Legend” talks about his legacy over some synthesizers & hi-hats. The title track happens to be the actual song excluding the outro assuring that both coasts been known the deal with him.

Confirming in a recent interview with Da Inphamus Amadeuz that he’s no longer signed to Death Row as a solo artist because of him & Snoop getting into a catalog dispute, Daz Dillinger gears up to fully produce The LOX’s upcoming 5th full-length set to drop in 2026 by taking a more introspective approach conceptually for Rowtation exemplified with the inclusion of some of his family members throughout only hours following Mark Briscoe ending Kyle Fletcher’s reign as AEW TNT Champion & of course FTR defeating Brodido to become record 3-time AEW World Tag Team Champions & Samoa Joe becoming a 2-time AEW World Champion at Full Gear VII.

Score: 4/5

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Oneohtrix Point Never – “Tranquilizer” review

Oneohtrix Point Never is a 43 year old progressive electronic producer from Wayland, Massachusetts in the late 2000s off Betrayed in the Octagon, Zones Without People & Russian Mind. The latter 2 & Returnal proved in their own rights to be head & shoulders above his debut. Replica alongside the Warp Records debut R+7 & Garden of Delete all came during my time in high school & are still praised today amongst his most important material. Age Of was alright, but Magic Oneohtrix Point Never & Again made great improvements even if I’d rank both of them behind his early Warp output. His 11th album however has been said to be his most groundbreaking in a while & that made me want to hear it for myself to believe it.

The vapor ambient intro “For Residue” begins with a riff reminiscent of the Pink Floyd single “Welcome to the Machine” whereas “Bumpy” feels like a mix of the Replica & R+7 eras. “Lifeworld” masterfully blends utopian virtual, glitch, progressive electronic, plunderphonics, new age, tribal ambient, worldbeat & ambient techno together just before the lead single “Measuring Ruins” takes inspiration from ambient, progressive electronic, glitch, epic collage, space ambient & utopian virtual.

As for “Modern Lust”, we have OPN taking 5 minutes of our time to demonstrate the evolution of his production skills after almost 2 decades of making music leading into “Fear of Symmetry” taking it back to more of an ambient vibe generally & some sound collages. “Vestigel” carries the ambient elements over & throws hints of vapor in the mix along the way while “Cherry Blue” fuses ambient, progressive electronic, space ambient, glitch, post-minimalism & drone for the 2nd single.

“Bell Scanner” could be the only composition here I could do without feeling more like an 85 second interlude if anything while the 3rd single “D.I.S.” pulls from glitch, progressive electronic, IDM, dreampunk, trance, space ambient & epic collage respectively. The title track was an appropriately selected conclusion to the 3rd act dabbling with techno while “Storm Show” kicks off the 4th quarter with a cross between the ambient & new age genres.

To continue Tranquilizer’s final moments, “Petro” expands on the ambient new age direction of “Storm Show” with a bit of a vapor twist to it while “Rodl Glide” saves the best single of the 4 for last because of it’s intricately composed explorations of IDM, vaporwave, downtempo, progressive electronic, acid techno, ambient dub & trip hop. “Waterfalls” epically concludes the LP cooking up an outro presenting itself in the amalgamation of ambient, vapor, new age & sound collage.

Using an archive of 1990s sample libraries found on the Internet Archive prior to being deleted, I can tell you as a fan of Oneohtrix Point Never since my adolescence that Tranquilizer will have most fans walking away calling it his greatest musical statement in a decade. I could additionally debate the real possibility of it taking over R+7’s spot for his magnum opus due to the nostalgic progressive electronic production treading further beyond ambient, sound collage, glitch, vapor, utopian virtual, epic collage, new age, IDM, dreampunk, trance, space ambient, post-minimalism, drone, plunderphonics, tribal ambient, worldbeat, ambient techno, downtempo, acid techno, ambient dub & trip hop.

Score: 4.5/5

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Tommy Richman – “Worlds Apart*” review

This is the 4th EP from Woodbridge, Virginia singer/songwriter & rapper Tommy Richman. Beginning to make music almost a decade ago by releasing his debut single “Ballin’ Stallin’” on SoundCloud & Spotify respectively, he would go on to put out 3 EPs including Paycheck as well as Alligator& The Rush. The latter of which caught the attention of Brent Faiyaz who in turn made Tommy the first signee to his newly formed ISO Supremacy imprint. Coyote marked his full-length debut 14 months ago & is following it up with Worlds Apart*.

“Stuck in My Head” was a fun g-funk intro singing about all the girls wanting them to be their man whereas “Amen!” instrumentally feels like a throwback to my favorite production duo of all time The Neptunes opting to focus on his vision even when things don’t feel right. “San Andreas”blends contemporary R&B with synth-funk & g-funk for an ode to the greatest Grand Theft Autogame ever while “West Coast” by mynameisntjmack & 03 Greedo unite for another Neptunes-inspired pop rap cut in which Giddy steals the show in this instance.

We get some prominent bongos on “What’s on Your Mind?” to kick off the 2nd half asking his lover what she’s thinking about at this very moment prior to “Actin’ Up” featuring Sexyy Red on the remix blending trap, pop rap, dirty south, contemporary R&B, hip hop soul & snap talking about cutting ties for what it is. “Bother Me” featuring Brent Faiyaz comes together for a duet admitting they were in their heads a week prior & “Mortal Sacrifice” ends by asking the woman he’s speaking to if she’s turning his wrongs into rights.

The “culture vulture” allegations surrounding Tommy Richman in the past year since he said he doesn’t make hip hop music around the time Coyote came out last is kinda silly to me because not only have both “$1M Baby” & “Devil is a Lie” revealed his artistic potential already, but he wasn’t entirely wrong when you take consideration of the fact that his music is more rooted in contemporary & alternative R&B with hints of hip hop soul & neo-soul. Worlds Apart* however makes for a decent extension of Tommy’s versatility fusing those 4 styles with g-funk, synth-funk, trap, pop rap, dirty south & snap ahead of a presumed sophomore effort in 2026.

Score: 3/5

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Roy Wood$ – “Flower City Heartbreak” review

Brampton, Ontario, Canada rapper & singer/songwriter Roy Wood$ dropping off his 6th EP. Signing to Drake‘s very own OVO Sound a decade ago already, he has since gone on to release a total of 3 full-lengths & 5 EPs, with the most notable of the handful being the 2015 debut EP Exis & of course the debut album Walking at Dawn the following winter. Rolling Stone back in December felt like a bunch of uninspired Weeknd runoff & Dark Nights wasn’t any better, gearing up to spill some Flower City Heartbreak.

“Energize Bunny” starts with a corny mutation between dancehall, pop rap & cloud rap talking about being the type of guy that makes your girlfriend get naughty whereas the lead single “1 Night Stand” featuring Chow Lee on the remix continues by going for a generic alternative R&B direction praying this girl he fucked gets her period asking how she got a body like that. “You’re So Right” gives off a trap soul vibe singing about the way she makes him feel & the “no XOs” line possibly being a sneak diss towards X❤️O Records until the moody “I Like It” tells his partner he enjoys it when she screams his name.

The song “TSA” kicks off the 2nd half of Flower City Heartbreak with an ironic Weeknd bite singing that he doesn’t want to cheat on the chick he’s been speaking to recently & knowing he can do better which I commend him for admittedly, but I’d much rather listen to Hurry Up Tomorrow. “Supposed to Be My Lover” makes for another moment reminiscent of Abel’s music asking how he’s supposed to live without this woman by his side & the outro “Crazy” takes 1 last opportunity to rip off The Weeknd singing a out the baddest bitch walking.

To see Roy Wood$ go from providing a unique take to the alternative R&B, trap soul, cloud rap & pop rap styles compared to the rest of the OVO roster a decade ago when Exis had initially dropped & supposedly ghostwriting his mentor’s “Sicko Mode” verses to increasingly becoming more & more like a Great Value version of the alternative R&B artist that Drake wishes he was all because he started up X❤️O instead of signing to OVO has only been getting sadder because it’s getting to the point where his output keeps declining.

Score: 1.5/5

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1300SAINT – “Savior” review

Atlanta, Georgia recording artist 1300SAINT finally releasing his 3rd LP. Known for staying out of the box with a versatile sound & style drawing in listeners from all walks of life painting pictures of all colors & shapes to create a true experience for his audience, the heavy 808 based instrumentals he lays his smooth vocals over on his full-length debut Noir makes you feel every song a little more than usual & led to Young Thug signing him to YSL Records not too long after he came home last Halloween. All Hail marked his debut for the label, preluding Savior with Saint Season as well as 4 & NewDrug. respectively. However, the main course has arrived.

We get some background vocals & hi-hats colliding all over the intro “Bigger Than Life” thanks to venny & Internet Money Records in-house producer Synthetic so 1300 can describe how he’s been feeling this whole entire year to the world whereas “Kyoto” talks about being posted up in the capital city of the 京都 prefecture of 日本. “Stop Playin” finds himself refusing to go back-&-forth with these clowns online including a jab at his former labelmate 9 Vicious just before the cloudy “Slitherin’” talks about having his way.

Lil Gotit fresh off his new collaborative album with his late brother Lil Keed this past Halloween appears on “R.I.P. Pope” so they can sell swag & discuss the way both of them are living while “Heard It All” embraces a hazier trap vibe talking about how that bro shit don’t work with him anymore. “Divine” luxuriously breaks down his expensive habits & assuring the racks don’t speak for him while the flute-tinged “Mona Lisa” talk about possibly needing money counseling.

“Palm Springs” starts the 2nd half of 1300SAVIOR’s sophomore effort for YSL repping his squad for eternity & promising this fine woman that he’s been speaking to that he’ll buy her anything she wants leading into “Slimier > You” boisterously talking about how slimy he is. “Bounty” gives off a shimmery trap atmosphere suggesting you might need another engine to catch up with him while “Soulties” talks about not giving a fuck regarding all these broke ass rapper & not regressing to his past self.

Yung Heir makes the weakest guest appearance throughout Savior with “Chainz & “Corvettez”, decently clarifying they ain’t ever lonely because of the cash flow while “Flaws” talks about getting his killstreak back up. Nico Baran hops behind the boards for “Return You” likens himself to a pilot the way he make these muhfuckas flying while the “Interlude” feels more like a 3 & a half minutes song talking about going through it all.

“Savior Solitude” spaciously concludes by showing off his singing chops over a beat kin to Yeezus while “Militia Boss” starts the deluxe run with a 2-parter talking about putting a blick on that bitch. “Blonde P*nk” hops over a hypertrap instrumental boasting that he’s goin’ punk with an all blonde bitch beside him while “Mami” talks about having trouble getting all of these bitches off him.

The rage beats are brought back in full effect on “White Ops” promising to burn anyone who wants smoke with him or his gang while “Pandemonium” takes about full chaos unraveling any time he puts out new music. “I Need” featuring Sk8star links up over a euphoric trap instrumental to break down the type of hoes they’d require to have around them while “Pretty Pu$$y” talks about him & a bitch having the time of their lives.

“Loadout (Hit)” featuring ApolloRed1 teams up so they can advise other people to have a pole out whenever they catch them in public while “EA” featuring 9 Vicious talks about hitting the Eastern portions of their hometown. Rounding out 3rd, he issues a warning to not even think of testing him because the “Shells” he has are hot over an Ayelavish! beat while the final bonus track “Lifetime” produced by 406ahmad ends by telling this shawty that he still cares for her & he’s living like a rockstar.

1300SAINT has already paving the way for a new generation of YSL since late February & it’s without a shadow of a doubt my favorite project of the 5 he’s dropped since he got signed, enhanced by all 11 of the additional cuts. The cloudy trap & rage production is more detailed than NewDrug. a few months earlier & despite Yung Heir’s feature being the weakest of the 5, I do admire that he & the other guest verses make Savior’s gangsta themes feel less monotonous than All Hail.

Score: 4/5

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Ouija Macc – “America’s Most Wicked” review

3rd album from Las Vegas, Nevada emcee Ouija Macc in 2025 & his 9th overall. Breaking out when 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 8 full-lengths, 2 greatest hits compilations, 8 mixtapes & 5 EPs all in the span of nearly 8 years. He even started his own label Chapter 17 Records, with Darby O’Trill now being the only artist other than Ouija & teamed up with each other 13 months ago for the excellent collab effort Anemoia building up Darcc Planet to become the darccest material of his career last summer. Psycho Babbel came a couple months later, entering the Temple of Ash & Chlorine proved that he’ll always be a scrub no matter how clean he gets. Sunken Church however concluded the story that Darcc Planet began, declaring himself America’s Most Wicked a few weeks after Matt Cardona & The Outbreak became the new JCW World Juggalo Heavyweight Champion & JCW World Juggalo Tag Team Champions respectively on episode 64 of JCW Lunacy. Can’t forget to mention the controversial WWE, WCW & TNA Wrestling writer and WCW World Heavyweight Champion Vince Russo becoming the head writer of Lunacy’s either.

“Rigor Mortis” produced by Devereaux after the “John Walsh” intro begins talking about how juggalos don’t ever die & suggest that all the pussies knock it off with that shit whereas “Old Fashion Horror” locks in with DeadBoyGrim for response to the people asking what happened to traditional horror with a modern wicked shit banger he’s perfected up until this point. “Acqua Panna Tuscany” blends cloud rap & trap to talk about how you can’t fuck with the juggalo like him leading into “Offa Me” talking about giving 0 fucks whatsoever.

Moving on from there, “Stalker Jr.” talks about this woman blocking him & having 30 other different numbers so he can stay in contact with her while “Honky Tonk” boasts that he’ll buy a chainsaw off Amazon for the sole purpose of choppin’ up it’s CEO Jeff Bezos. “Phonky Homicidalyst” cleverly blends horrorcore & phonk music looking for cowards in a droptop until “Juggzilla” talks about being the juggalo version of ゴジラ.

“Let’s All Fly” continues with a ghostly trap vibe wanting the so as if there isn’t a fire blazing on the other side while the eerie lead single “Lil’ 1700” talks about creepin’ out the gutter ready to show the underground what the fuck it is. “Formaldehyde” pulls from the Memphis scene a bit making a dope reference to “Guts on the Ceiling” off Carnival of Carnage at the end of the 1st verse while “S.M.D.M.F.D. (Suck My Dick Muthafucka, Die!)” gives off that exact mentality.

Beginning the final leg of America’s Most Wicked, the cloudy trap crossover “Mama House” issues a warning that you don’t want to see him in Juggalo form while the psychedelic “Bong Rips” comes through with a stoner’s anthem for the playalos. “Cemetery Mane” cloudily talks about being haunted by an entity whispering his name while “Hypnotize” ethereally addresses those who have it out for him.

“Show & Tell” portrays himself as a teacher having the whole class yellin’ after swinging this hatchet & admitting that he likes to load a clip as much as choppin’ up bodies while “The Willows” talks about murdering sex offenders & bigots affiliated with all sorts of hate groups. “Build My Home” ends by suggesting he makes himself at home in a cemetery, unsure if God’s answering his prayers & realization the only thing left is the certainty of death.

Coming fresh off the news of Ouija Macc expecting his 3rd child & him buying a 17 acre farm that he calls Juggalo City, the CEO of the Psychopathic Records subsidiary Chapter 17 Records finishes his 2025 by rightfully claiming the title of America’s Most Wicked a few weeks since Ninja Mack became the new JCW American Champion. Filled with 20 tracks of certified wicked shit with 3 of them not being on streaming due to their extremities, it’s basically a soundtrack to the hypothetical situation of the country burning to the ground.

Score: 4.5/5

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