WTM Solid – “Touropean 2” review

This is the latest mixtape from Detroit, Michigan rapper WTM Solid. A member of the WRLD Tour Mafia, he also embarked on a solo career of his own a few years back with the debut EP Originatour followed by both Matter of Time & What’s the Difference?. Bigg as well as the full-length debut Imagine That at the beginning of last year elevated himself as an individual amongst the rest of WRLD Tour, coming off Street Gospel & $uper Amazing $uper Rich to drop a Touropean sequel.

“7 Words for You” opens up with a cloudy trap intro basically giving middle fingers to anyone who hating on his squad when they’re not doing shit themselves whereas “Foreign Dude” combines some synthesizers & 808s talking about unloading clips after making a bag. “Back on Bull$hit” instrumentally brings a darker vibe to the table treating hoes like the road while “Hard Tour Choose 1” atmospherically talks about getting it out the mud.

Meanwhile on “$olid Shakespeare”, we have Solid letting a woman who ain’t seen much spend an entire day with him leading into “Not Mine (My Turn)” having somewhat of an atmospheric flare to the beat talking about his haters wanting to see him fail. “Top of the Morning” reaches the halfway point of the tape talking about his preference for boring bitches just before “Livin’ 2 Fast” speaks of going from last place to working towards the top spot.

“N.L.M.B. (Never Leave My Babies)” talks about always being there for his children no matter how bigger he becomes musically while “$paceship” boasts of him having more power than the government itself. “Drama Call <3” advises someone who speaks too much around bosses to play it cool while “Lean on Me” talks about dropping projects for the love of the game. “Tyson Fury Fight” produced by WTM Niketech advises to turn your feelings off in order to achieve success & “Don’t Think Too Hard” giving a fuck less about who’s mad at him.

The original Touropean last summer was inspired by WTM Solid’s trip to France & for the follow-up, I don’t see myself coming back to it as much as the other 2 projects he’s dropped this year even if he carries over everything that made the predecessor so distinct 11 months earlier from the lyrics representing his squad overseas except he’s visiting the UK this time around to the Detroit trap production. BUT if he plans on continuing the series in the midst of visiting other countries, of course I’d be welcoming of it.

Score: 3.5/5

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Tonio Armani – “Outside for the Summer” review

Columbus, Georgia singer/songwriter Tonio Armani enlisting Atlanta producer, DJ, rapper, record executive, entrepreneur & crunk progenitor Lil Jon to produce his brand new extended play. Dropping his full-length studio debut Love & Relationships along with the sophomore effort The Soul Train in 2019, he would go on to release Believe the following year & WWE Hall of Famer Snoop Dogg would sign him to Death Row Records distributed by gamma. following Intimacy. Making his debut for the label, it’s only right he steps Outside for the Summer.

The Ying Yang Twins appear on the intro “B.O.B. (Big Ole Butt)” joining forces over a vibrant beat so all 3 of them can talk about their love of women who have cake whereas “Walk That Line” instrumentally goes for more of a crunk&B vibe to describe a woman that he can’t seem to get enough of. “Donkey” soulfully sings about wanting all the ladies to get on down to the dance floor leading into “Line Dancer” ending the 1st leg of EP with a carefree R&B jam recalling this woman giving him a show.

“Temptation” gets the 2nd half going singing about a temptress trying to seduce Tonio when he’s already in a relationship & after “That’s My “Lady” soulfully dedicates itself to his soulmate he was referring to earlier, “Jam with Us” sings to those who’re unable to party with him that they can’t do so at all if that’s the case. “Bad Mamma” featuring Snoop Dogg finds the pair talking about women who’re well put together & the closing track “Superman Lover” featuring Nila Milan sends it all off with a laidback R&B duet with a summertime feeling to it.

Looking to celebrate his Georgian roots for our country’s semiquincentennial, Tonio Armani enlists a founding father of the crunk subgenre of hip hop to produce Outside for the Summer since he helped make some crunk&b hits back in the 2000s & would consider it to be gratifying debut for Tha Row as well as Tonio’s finest statement yet. He’s passionately honoring the people who made him the man he become today & Lil Jon’s production is more R&B-oriented compared to LaRussell’s 32nd EP Something’s in the Water.

Score: 4/5

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Wakko the Kidd – “The Kidd That Did” review

New extended play from Hollywood, California rapper & entrepreneur Wakko the Kidd. Introducing himself in the summer of 2018 off his debut single “Multiple Racks”, he would go on to launch his own strain of cannabis called Airheadz a year later. However in the summer of 2024, the Insane Clown Posse signed him to Psychopathic Records & has performed at many of their events like the Gathering of the Juggalos or Hallowicked. Coming off his full-length debut In Airheadz We Trust at the beginning of the year, The Kidd That Did’s back once more only 24 hours away from Choppa City & Father Bronson ending the jWo & Facade’s respective reigns as JCW World Juggalo Tag Team Champions & JCW American Champion on the 90th episode of Juggalo Championship Wrestling (JCW)’s flagship series JCW Lunacy.

“Food 4 Less” starts us off with a coldblooded trap beat talking about paid crazy amounts of money for his live performances whereas “Go Crazy” boisterously dedicates itself to anyone who has a payroll. “I Had To” maintains a standard trap vibe instrumentally talking about going from breaking into houses to signing with the label beneath the streets leading into “Put in Work” fusing elements of trap, cloud rap & rock discussing his constant hustle.

Kicking off the 2nd half, “Motel 6” looks back at the times when he used to live at the titular motel chain because he was so down bad during that point in his life while “Spring Break” talks about linking up with a bitch he met on the middle of her vacation that she took for the Easter holiday. “F.W.M. (Fuck Wit Me)” nears the end of The Kidd That Did talking about coming from the gutter & “Coast to Coast” ends the EP discussing that he stays growin’ weed for his customers across the country.

Some began to question Wakko the Kidd’s ability of carrying an entire body of work on his own considering literally every track on In Airheadz We Trust had a guest appearance & I think he listened to those criticisms since The Kidd That Did makes some improvements above it’s predecessor although I’d consider it to be on the same level of quality. The trap production is passable, but I applaud him for not having any features to shut down the detractors dismissing him doubting his pen.

Score: 3.5/5

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ilykimchi – “I Love You Kimchi” review

This is the 3rd extended play of solo material from Los Angeles, California producer, singer/songwriter & model ilykimchi. A member of The Scythe collective & the pioneering tread production team Working on Dying, her moderately received debut EP agony would come out in the fall of 2023 establishing herself in the future garage & alternative R&B scenes respectively. She followed it up this past April with prenup & the reception for that was generally mild too, but I remained optimistic going into her eponymous offering.

“Hello Baby” sets the tone with an electro/dance-pop intro singing about an individual who’s constantly on her mind whereas “Party in My Head” confesses that she won’t be understood until the person addressed dances with her. The lead single “Poser” combines electropop, electro house & electroclash confronting some loser about him pretending like he doesn’t know who she is while “Fendi Prada” expresses her desire of throwing it back to 2010.

binx joins Kimchi on another electropop, electro house & electroclash single “Crashout” that I found underwhelming until “What the Fuck Were We On?” spends 74 seconds wanting an ex to know that she’ll always be with him if he’s feeling lonely. “Green Room” hits us with a decent track catered to EDM festivals while the final single “Every Day a Movie” fuses electropop, dance-pop & bubblegum bass to sing about everything being different. The closer “Thank You” lastly sends off the EP with an open letter to someone she’ll never forget.

prenup this past spring found ilykimchi bringing other producers on board to handle all of the beats in comparison to her only self-producing 2 songs on agony & although I appreciate that risk being taken once again, this self-titled EP still leaves me on the fence & I say that respectfully because I truly think she has the potential to make something better. I also applaud her for departing from the alternative R&B sounds of her earlier output for a confident collection of electropop, dance-pop, bubblegum bass & electroclash jams for all the ladies looking to party this summer even if I wouldn’t consider it superior to Slayyyter’s major label debut WOR$T GIRL IN AMERICA.

Score: 3/5

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民謡クルセイダーズ – 『日本民謡より愛をこめて』レビュー

The Minyo Crusaders are a min’yō band from Fussa City, Tokyo, Japan consisting of guitarist 田中克海, saxophonist 大沢広一郎, percussionist 小林ムツミ, timbalero イデソノオ, trumpeter 山内ステファン, conguero Irochi, keyboardist Moe & vocalist フレディ塚本. Dropping their full-length studio debut Echoes of Japan in 2017 followed by the 2023 sophomore effort Tour of Japan, they have since signed to Blue Note Records & are making their debut for the greatest jazz label of all-time with the Crusaders’ 3rd studio LP.

“北海盆唄” begins with a rendition of a vulgar coalminer’s song originating in Hokkaido that was eventually rewritten in the 1940s containing a bit of a Latin twist to it whereas “こきりこ節” by Minyo Cumbiero comes through with a cumbia colombiana/tropicanibalismo spin on the oldest Japanese folk song. “花笠音頭” also by Minyo Cumbiero blends both ensemble’s styles again for an ode to the community dance originating in the Yamagata Prefecture while “下津井節” covers track dating back to the Edo period.

Kicking off the 2nd half, we have [朝倉さや] joining the Crusaders for the single “朝倉さや” reintroducing another cut from the Edo period except it was conceived in the Shimane Prefecture leading into another work song “木山音頭” during the construction of Imabari Castle being modernized for newer generations. “ワイド節” featuring 元ちとせ unites for a cover of the Amami Islands’ famous min’yō track synonymous with bullfighting & “伊予万才” ends From Japan with Love renditioning a humorous song written back in the 17th century.

Forming back in 2011 with the goal of making min’yō more international by incorporating rhythms from Latin as well as African & Caribbean music, the Minyo Crusaders’ debut for Blue Note Records surpasses both of it’s predecessors to become the most vibrant statement of their existence by rooting From Japan with Love in the passionate respect they’ve always had for Japanese folk & it’s ability of resonating across multiple cultures.

Score: 3.5/5

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Ouija Macc – “Sixela” review

2nd studio LP of 2026 & the 11th overall from Las Vegas, Nevada emcee Ouija Macc. Breaking out when the Insane Clown Posse signed him to Psychopathic Records shortly after putting out his debut EP Trashfire independently almost a decade ago, Ouija has since proven himself as the hatchet’s biggest solo act dropping his last 10 full-lengths, 2 greatest hits compilations, 8 mixtapes & 5 EPs all in the span of almost 9 years. He even started his own label Chapter 17 Records, with Darby O’Trill now being the only artist signed. He has since declared himself America’s Most Wicked back in November, coming out of the Pyramid of Skulls to have Flexatelli fully produce Sixela a week after Caleb Konley & Dani Mo ended CoKane & J-Rod’s reigns as JCW World Juggalo Heavyweight Champion & JCW Women’s Champions respectively.

“Sixela Legna” opens up with a sinister trap intro talking about him being on the verge of losing his mind whereas the 3rd single “Zombie Walkin’” gets back up on his bullshit, crushin’ something soon as he steps up in the function. “Sour Dough Toast” talks about the feeling Ouija has of him not belonging on this planet because it’s a curse just before the lead single “Phonky Phonky Sh17” embraces a phonk sound & infusing it with horrorcore lyricism.

As for “Kerosine Flex”, we have the C17 CEO getting busy on ‘em returning to a trap sound while the 5th & final single “Corpse Boy” talks about spraying a fully loaded clip at all the dorks who come around his way & being an MVP when it comes to the art of murder. “That Dust” continues from there telling us what it was like for Ouija growing up in the deserts of Sin City leading into “Murda Mission” talking about slaughtering his opposition & torturing them until he’s done.

“Out da Jungle” reaches the halfway point of Sixela speaking of him hanging out with the dead because the living are unable to stand him while “Set Trippin’” continues the 2nd leg talking about Chapter 17 being the very reason why throats are left slit & killing anyone who fucks up his mood. “Sally Mander” includes a shoutout to Death Grips during the final verse that I loved as a fan of theirs since high school while “God’s Ashtray” asks listeners for their interpretations of Hell.

After an “Internal Monologue” detailing suicide ideation, the song “Demon Juggalo” cloudily talks about pullin’ up to the spot like he owns that hoe while “Calculator” boasts of his status as a calculated killer doing numbers. “Dracula” talks about eating the pussy at the red light because he’s that much of a perv & the outro “Elote” concludes Sixela singing that looking into the eyes of his newborn child makes him feel as if he passed away.

Devereaux’s normally credited for producing a great deal of Ouija Macc’s discography other than a few notable exceptions, but I’m very much appreciative of what he was trying to do with Sixela even if I prefer the previous album 3 months earlier as my favorite thing he’s done in 2026. Flexatelli’s production is certainly refreshing for anyone who wanted Ouija to work with someone else behind the boards & it compliments the latter’s wicked lyricism.

Score: 3.5/5

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Maxo Kream – “O.Y.N. (Old Yung N***a)” review

Houston, Texas emcee & songwriter Maxo Kream enlisting JPEGMAFIA to fully produce his 5th mixtape. Breaking out in the beginning of 2018 off his full-length studio debut Punken following his first 4 mixtapes, this resulted in him signing to RCA Records for the sophomore effort Brandon Banks & of course Weight of the World. Last we heard from him was Personification under his own label Persona Money Global in late 2024 & is joining EMPIRE Distribution to describe his O.Y.N. (Old Yung N***a) status.

6 Months Clean” kicks things off admitting that he relapsed after trying to quit poppin’ percs & sippin’ lean whereas the title track works in some sampling techniques so Maxo can talk about being that muhfucka. “30 N Dirty” has somewhat of a cloudier vibe instrumentally referencing the late WWE Hall of Famer Muhammad Ali & after “This Shit Going On” eerily talks about him being fed up with strippers, “Time Out” reaches the halfway point suggesting he needs to take a break for a bit.

Kicking off the 2nd leg, “Cum Over” has a more seductive flare to it encouraging his lover to pull up on him while “Fake Jeezy” featuring Denzel Curry talks about their hopes of not running into any opps & being old school gangstas. “How I’m Coming” featuring Cartel Bo & Josh Kream incorporates some horns to discuss running up bags while the outro “How TF I’m Lucky” concludes the tape looking back at the past 15 years of his career.

I completely understand why people were disappointed by Tyler, The Creator not having any beats on here considering his chemistry with Maxo Kream, but O.Y.N. (Old Yung N***a) had me thinking it could join Personification in becoming some of his best material based off the teasers & now it’s officially my favorite tape in his discography. JPEGMAFIA’s production more experimental than the H-Town artist’s usual stuff & he spends less than a half hour detailing his legacy.

Score: 4/5

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T.I. – “Kill the King” review

Atlanta, Georgia rapper, songwriter, actor & record executive T.I. calling it a career with his 12th & final studio LP. Amongst “the big 3” trap pioneers alongside Gucci Mane & Jeezy respectively, he would go on to drop a few classics back in the early 2000s including the Atlantic Records-backed sophomore effort Trap Muzik as well as King & Paper Trail. Last time I enjoyed a full-length from the Grand Hustle Records founder was Dime Trap under Epic Records back in 2018, coming off his beef with 50 Cent to Kill the King.

After the “King’s Thought” intro, “See Wh’am Sayin’” opens up with him talking about taking the crown back home over a DJ Toomp instrumental whereas “Let ‘Em Know” incorporates a trap beat from Pharrell for the new theme song of the WME Group-owned TKO Group Holdings division’s WWE Friday Night SmackDown program on USA Network. “Where I’m From” produced by Dr. Dre & Dem Jointz talks about the ATL being the home of the scandalous leading into “Rant” addressing the biggest misconception of his career: That he gives a fuck.

“Mr. Him” runs it back with Pharrell chasing the vision instead of a bag just before “How It Went” featuring The-Dream joins forces for a trap/R&B duet recalling the way their careers panned out for them. “Dope Boys Academy” featuring Jeezy & 2 Chainz finds the trio talking about their days of slanging drugs while “Pistol on the Dance Floor” takes a funkier approach to conclude the 1st half of Kill the King & getting significantly flirtatious through the lyrics.

Kicking off the 2nd leg, the final single “And Won’t” has more of an underwhelming pop rap vibe suited for radio play talking about him folding for a bitch while “Gorgeous” instrumentally slows things down courtesy of Young Fyre admiring the beauty of this woman who he can’t get enough of. “We On” talks about him doing it big over a Turbo beat while “Llogclay” featuring YoungBoy Never Broke Again finds the pair telling listeners to choose between growing old or dying young.

“Ego” winds down Kill the King’s last moments standing by nobody being able to fuck with him while “Trauma Bond” samples “Ballan’ Parlay” by the late Big Pokey so he can talk about his legacy being celebrated. “Represent a Time” featuring Young Dro warns to be cautious of what we put next to the flame over an Organized Noize beat & after “Big Dog” soulfully gets boastful for a couple minutes, “Continental” ends the album getting reflective over a Juicy J instrumental.

The L.I.B.R.A. (Legend Is Back Running Atlanta) left me disappointed when T.I. had initially made his EMPIRE Distribution debut during the 2020 COVID-19 pandemic & I can understand if some don’t care for Kill the King that much either, but it’s definitely the most enjoyable full-length in his catalog since Dime Trap since this egotistically self-gratuitous persona that kinda enters the room before he does physically gets sent off permanently because of the fulfillment he feels towards his music career.

Score: 3.5/5

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Wyclef Jean – “Quantum Leap: Clef Notes” review

Wyclef Jean is a 56 year old rapper, singer/songwriter & producer from Newark, New Jersey by way of Croix-des-Bouquets, Haiti who began his career as 1/3 of the Fugees. He has since spent the last 3 decades following their disbandment carving a path for himself as a solo artist dropping a couple of extended plays along with 8 full-length studio albums & 3 mixtapes. However, he’s ending the 1st half of 2026 dropping off his 3rd EP & the inaugural entry of the 7-part Quantum Leap series.

The self-produced intro “Memory Lane” takes it all the way back to the beginning reflecting on his career whereas “Boom Bap” featuring Rapsody finds the pair talking about forever being nostalgic. “Devil’s a Lie” featuring PRICE hits us with a 2-parter switching up the beat during the 2nd half of it so both artists can give all praises to Yahweh or God just before “Mr. October” featuring G Herbo finds the pair talking about envisioning a new acquisition, possibly making moves in real estate.

“Winter’s Coming” brings a summery guitar into the picture singing about his wishes of making all his wrongs disappear leading into the soulfully jazzy “G.B.T.C. (God Bless the Child)” featuring Lil Wayne discusses breaking the cycles of their respective family trees. The penultimate song “Gemini Man” explaining that the real eternally staying the same even if technology’s advancing & the outro “Freedom” concludes Quantum Leap: Clef Noteson a more melodic note, singing about playing his part.

Truthfully: I wasn’t so sure of how much I would enjoy Quantum Leap: Clef Notes considering the gap between that & The Carnival III: The Fall & Rise of a Refugee nearly a decade ago, but I do think it’s a solid beginning to this saga & have heard that future installments will be spanning across several genres from jazz to soul. Considering the latter, him kicking it all off with a prominently hip hop style was the right move to make & I look forward to the other 6 chapters.

Score: 3.5/5

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MexikoDro – “Stayed Down” review

This is the 5th extended play from Atlanta, Georgia producer & rapper MexikoDro. A member of the BeatPluggz, he would later embark on a solo career with Down Bad as well as De Mayo & Quatro respectively. In almost a decade he’s also produced tracks for the likes of Maxo Kream, Drake, Bktherula, Smokingskul, Tony Shhnow & Diorvsyou. His full-length debut Still Goin’ under Republic Records last November was widely praised as his finest material yet & Stayed Down looks to continue the momentum.

“Loser” begins with a cloudy trap beat talking about spending his free time these days trying to heal from past trauma whereas “Rest” gives off a dirty south vibe instrumentally explaining that he’s nothing like the rest. “Knuckle” works in some synthesizers talking about how he had to quit so much since he used to struggle just before “To Go” featuring Key Glock finds the pair speaking of picking up the phone whenever money calls them.

Meanwhile on “Down”, we have Dro looking back at the days when no one wanted to help him when he was at his lowest over a plugg beat leading into the triumphant “My Girl” featuring ManMan Savage talking about the women they’re dating being independent since they have their own shit. “Free Flight” admits that he’s been going through some mental health shit lately while “Letter” recalls when his mother used to write him back when he was incarcerated.

“Mail” wraps up the final moments of Stayed Down talking about going from being chased by the cops to going outside to check his mailbox while “Bacardi” describes not thinking the same ever since he made all the money he’s earned over a horn-inflicted trap instrumental. The closing track “Flat Shoals” spends the concluding 2 minutes of the EP talking about picking himself up from the dirt & this girl he’s seeing distancing herself from the Hart County area.

Ever since signing to a major label, MexikoDro has spent nearly 8 months further establishing himself as an artist than merely a producer & Stayed Down dethrones Down Bad to become my new favorite solo EP of his. I’d still love to hear him fully produce an entire body of work by himself, but I respect that he’s continuing to take a backseat in that field & specifically him bringing in a couple features to break up the predecessor’s monotony.

Score: 4/5

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