Izaya Tiji – “Alexandria” review

This is the sophomore LP from Ohio recording artist & producer Izaya Tiji. Emerging as a founding member of the Slayworld colllective, he would go on to build an extensive solo catalog for himself standing at a full-length debut alongside his last 22 EPs & 3 mixtapes. My personal favorite being his last previous tape Know Nothing Else 2 over 2 years ago at this point. But coming off Before Alexandria couple months ago, Izaya’s finally delivering the main course.

“Envy” is an atmospheric trap opener targeted towards those who’ve become jealous of how far Izaya’s come in his career up to this point whereas “Face Shot” takes the cloudier route boasting that he has the flash on without any cameras around the premises. “I Eat Humans” works in a shimmery backdrop & hi-hats discussing that he got Jew ties as well as giving a finger to the facists, by then “Rockt” gives off a more psychedelic trap edge this time around firing back at those who said he flopped.

Meanwhile, “Elysium” produced by SOULJASPIRITS dives back into trillwave turf talking about his own blissful heaven leading into the moody trap cut “Shy” discussing the whole concept of shyness altogether. “Can’t Stop 3” with thr6x moves forward with a triumphant tribute to the late Takeoff of the Migos who was gunned down the day after Halloween last fall just before “Cold Nights” gives off a ghostly feeling insteumentally tackling the metaphor for the feeling of isolation & detachment from others.

“Fritos” compares his white Molly to that of a hot tub & having old money sitting at the bottom of my bag looking like the titular snack over an airy trap beat while the dreamily produced “Hiccup” talking about people knowing he’s here for the big bucks & having to put back someone who got out for being too wild. “My Twins” hooks up these piano chords & hi-hats addressing an adversary he doesn’t see eye to with no more while “Simba” is a bell-infused trap cut talking about feeling like the titular Disney character.

Moving on from there, “At Last” brings back the keys & hi-hats once more saying at least he has his family with him even though he needs to kick the habit of substance abuse while the luxurious trap flavored “Empty” talking about being possessed by the money. To start the 2nd leg of the album, “Smushed” featuring YSK finds the pair teaming up over a delicate loop & hi-hats flexing that they so hard that they made their cities fly while “Infinite” gives off a more energizing vibe instrumentally talking about how they gon’ take you down.

“Got That” goes into glossier territory with the trap beat telling his homie not to talk back since he ain’t his bitch while the ghostly “Ain’t Faint of Heart” vents about a woman that wound up breaking his heart. “Vacant Trap” keeps it trillwave by pointing out an empty trap house that he just so happened to come across by while “Mac & Cheese” whips up a peaceful trap instrumental boasting that he got the check & letting these little motherfuckers continue to run their mouths for entertainment purposes.

Reaching the end of the 3rd leg of the album, “Cauterized” acknowledges that he can hook people up with a 4 piece & that he’s rolling up in a donkey over a spacious backdrop & hi-hats while “Butterfly” starts the 4th & final leg on a pillowy note talking about having to grow up on top of showing off the kind of doors that he has on his new whip. “Blackouts” admits that he’s lost some people & going haywire as of late backed by more spacey trap production while “Big Hat (Eye for an Eye)” hops on top of a subtle beat talking about not to worry since he knows the way.

“Half” has these cool electronic undertones throughout pointing out that every single thing he got ain’t recently ain’t all for him yet he ain’t dividing it all in an even portion while “Space from Reality” talks about people pushing down as if it’s the UFC, whose parent entity Zuffa was merged with the WWE to form TKO Group Holdings a few days ago after Vince McMahon’s sale of the historic septuagenarian professional wrestling promotion to WME Group was finalized over a euphoric instrumental. The atmospheric penultimate track “That’s My Dawg” is a straight-up dedication to the people in his life whose backs he’ll always have & “Call of Duty” closes the album by hopping out with the sticks with a beat that gives off a godly aura.

The prelude that we got back in July ended up being one of Izaya’s best EPs in a while, so that alone was enough to increase the anticipation I already had for Alexandria & it’s quite truthfully on the same caliber if not better than his previous album 2020 only less than 2 months before COVID shut the whole world down. Tad bit too long, but he expands on the cloudy plugg/pluggnb trap sound that made a name for himself as well as sounding impressively focused & even improving his flows a bit.

Score: 4/5

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Nas – “Magic 3” review

Nas is a 50 year old MC from Queensbridge, New York known for being the son of jazz cornetist/guitarist Olu Dara as well as his breakout debut illmatic & the equally classic sophomore effort It Was Written going on to be widely acknowledged as some of the greatest albums in hip hop history. I also enjoy stillmatic, The Lost Tapes, God’s Son & Life is Good. Then there was the Kanye West-produced NASIR & The Lost Tapes II, which I felt like they were fine additions to his catalogue even though the overall consensuses were polarizing. But for the last 3 years, Nas has been working exclusively with Hit-Boy since the COVID-19 pandemic & both of them are a good fit for each other. King’s Disease earned Esco his first Grammy, but the sequel as well as Magic & the conclusion to the King’s Disease trilogy each took their chemistry to new heights. But coming off the incredibly solid Magic 2 over the summer, Nas is celebrating his born day by making his 17th album the final installment of the Magic trilogy & the last in his historic 3-year run with Hit-Boy behind the boards.

To open things up, “Fever” hops on top of a sample-based boom bap instrumental by declaring this to be prophecy & that he’s been fly for half a whole century by now whereas “TSK” works in some more kicks & snares with a gloomier loop talking about trying to stay humble yet he can take it back to Nasty if he wants to. “Superhero Status” moves forward with the art of sampling & keeps it boom bap so he can discuss how the way it’s goin’ down is simply a shame, but then “I Love This Feeling” goes for a jazzier yet soulful approach talking about outclassing people.

“No Tears” keeps it rolling by pointing out that it’s hard to find genuine lover over a tension-building beat prior to Lil Wayne coming into the picture for “Never Die” hoping over a soul-inflicted boom bap instrumental talking about both of their legacies in the culture. “Pretty Young Girl” mixes some horns with kicks & snares talking about a queen that has entered his life even though it might be the weakest cut on the album personally just before “Based on True Events” shoots for a triumphant boom bap vibe so Nas can get on his private investigator shit.

The sequel to “Based on True Events” weaves a spacious backdrop in the fold on top of kicks & snares yet again popping someone at the place of a transaction while “Sitting with My Thoughts” dives headfirst into trap territory talking about bouncing back after every loss. “Blue Bentley” encourages you to say that his life ain’t lit over a bombastic instrumental with some hi-hats while “JoDeCi Member” returns to the boom bap telling anyone to try him.

The song “Speechless, Pt. 2” conceptually picks up where the first “Speechless” left off almost 2 years back accompanied by a flute-tinged beat making it clear that you can redo the voice, but you can never read his mind while the penultimate track “Japanese Soul Bar” is a 2-parter with a woozy kickstart & a luxurious switch-up drinking scotch in a bar until the daybreak prior to the drumless “1-800-Nas&Hit” ending an era by comparing all both trilogies to that of a greatest hits collection referencing the Star Wars franchise owned by The Walt Disney Company subsidiary Lucasfilm.

I’m sure Nas is gonna take a year off to prepare for the next chapter of his career, but to say it’s been exciting to hear his chemistry with Hit-Boy evolving from the first King’s Disease to literally every album they’ve done together would be an understatement & this could very well be my 2nd favorite installment of the Magic trilogy behind the one that started it all. The production’s more soulful in comparison to the last 5 LPs they’ve done in the last 3 years & the lyricism hits harder than the predecessor did earlier this summer.

Score: 4.5/5

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3-Headed Monster – “Rampage” review

This is the sophomore full-length album from horrorcore supergroup the 3-Headed Monster. Consisting of Detroit pioneers Esham & Violent J alongside Ouija Macc hailing from Las Vegas, all 3 members each have a distinctive history of their own. The first being the unholy godfather of the wicked shit founding Reel Life Productions, the other co-founded Psychopathic Records as 1/2 of the Insane Clown Posse whom the Boogey Man was once signed to from 2002-2005 & Ouija became the hatchet’s biggest solo act in 2017 following ICP severing ties with their former protégés the demented duo Twiztid earlier that same year despite them departing Psychopathic only 5 years before that to form Majik Ninja Entertainment now continuing to gradually build Chapter 17 Records as a dominant subsidiary of the label that runs beneath the streets as he’s been their only current artist other than the wicked clowns themselves since the pandemic. But as they begin the 2nd leg of their tour promoting their full-length debut Obliteration from over the summer displaying 3 generations of hip hop’s most underappreciated subgenre, the trio’s continuing their Rampage.

The intro begins with all 3 members aggressively going back & forth with each other on the mic over a rugged trap instrumental for a couple minutes proclaiming their greatest joy in life is to crush & destroy whereas “Bulldozer” works in a shimmery backdrop & hi-hats from Shaggytheairhead cautioning that everyone’s in danger. “End of Days” gives off a more cavernous trap vibe thanks to Devereaux making it clear that there ain’t no heroes in this saga just before the “Bepis” goes into atmospheric territory so Ouija Macc can whip up a solo joint & his rhyme schemes throughout are some the craziest he’s ever jotted.

“Sinister Super Sinister” by Violent J continues to demonstrate the talents of each member of the supergroup as he hops over a trap-rock crossover declaring himself to be exactly that leading into Esham’s solo cut “Cult Leader” diving headfirst into boom bap territory with some keyboard embellishments asking if one wants to lead a cult of their own. The 3-Headed Monster reunited as a unit for the chaotic trap banger “Red Pavement” looking to leave the haters laying, but then “Cobblestone” finds Ouija on his own again blending a suspenseful loop & hi-hats talking about them Sin City killas being at your neck.

The song “Pillow Talk” by Violent J goes for a more subdued trap sound proclaiming he gets down all the time killing for real & love how his new chick never asks why his clothes are bloody even though his raspy delivery is a little off-putting while “Dinero” by Esham talks about the money over a groovy sample flip. The title track though rounds out the trio’s sophomore effort with a 5 & a half minute trap heater taking away all the sunshine & rain in favor of smoke & fire instead.

The 3-Headed Monster’s formation has to be my personal favorite thing that Psychopathic has done all year even though I stand by me being happy to see them pumping out music at the rate they’ve been doing so all year, but I actually might like Rampage better than Obliteration by a hair. They’re stepping up their chemistry together on top of getting a couple chances to shine individually again & I love how the production sounds harder than our introduction to them over the summer.

Score: 4/5

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tana – “London” review

This is the 7th EP from Atlanta, Georgia up-&-comer tana. Coming up in 2018 as a member of the plu2o9 collective under the original moniker BabySantana, he would go on to drop his first 2 EPs Recreation! & Planet Sosa alongside his debut mixtape Quan a couple years later & eventually signed to Lil Tecca’s very own Republic Records imprint Galactic Records the next fall. But coming off his last 3 EPs n(n) as well as Santana & it’s sequel, tana’s rang in 2023 by making an impressive major label debut off his last EP Gaultier at the beginning of the year. So considering that, I went into London to hear where he’d take it from there ahead of a self-titled body of work next month.

Things start off with a cloudy 2 & a half intro talking about being unable to prioritize a bitch over a bag despite wanting her badly whereas “nan” takes it a step further by detailing having to cut off his last girl because she was fucking with his head backed by a booming trap instrumental. “bool” talks about running the bucks up accompanied by a spacious beat with some 808s, but then “up” shoots for a glitchier trap approach sonically admitting he fucked up but he knows how to fix it.

“kould tell” psychedelically points out that the one he’s seeing now has clearly never been with a rockstar before leading into the trillwave-infused “cheque” encouraging shawty to rock with him even though he doesn’t play guitar. “rn (right now)” makes it clear that he don’t pop out when it’s bright out over a pluggnb instrumental that is until “ainmean.” strips the drums completely telling her that he didn’t mean to hurt her feelings. “pop it.” wraps up London by blending synths & hi-hats telling his lover that he’ll buy anything in the stores for her.

Gaultier quickly became the best EP in his discography once the year started & London is already right behind it on top of raising my expectations for self-titled next month. The production’s on par with tana’s major label debut continuing to expand on his pluggnb, cloudy pop rap sound & he’s continuing to deliver some of his strongest performances.

Score: 3.5/5

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Glokk40Spaz – “Took the Biggest Risk” review

This is the 3rd full-length album from Atlanta, Georgia recording artist Glokk40Spaz. Emerging off the Don’t Get Took Off mixtape trilogy & the debut EP Spaz&B, he would also go on to drop his very first LP 2 Glokks followed by the sophomore effort Baby Whoa with both of them receiving quite a bit of acclaim. But now in light of the EBG Records founder signing to Columbia Records, I was anticipating to hear what hear how his major label debut Took the Biggest Risk would play out.

“Enough Ammo” opens the LP with synthesizers & hi-hats advising to take precaution when you step in his trap house whereas “Forgot My Manners” works in a piano-trap instrumental some bells talking about growing up on some Adam “Pacman” Jones shit gangbanging in his city. “3rd World” embraces the plugg sound flexing that he be high as Hell just before “Different Goals” works in some hi-hats & low at synthesizers pointing out the difference in goals between him & everyone else.

Meanwhile, “Fuck Sum” has these organ-like synth melodies promising to look in the eyes of his enemies as they die referencing WWE Hall of Famer Mike Tyson leading into “Whatchu Sayin’?” making it clear that he can meet up & have a shootout with any opposition whatsoever. The trap beat from SenseiATL on “Facecard” gives me an UFO inspired feeling showing off big chopsticks that’ll make motherfuckers doing backflips, but the “Blame Us” brings back the synthesizers once more talking about potentially being coupled with a bitch that has mob ties.

“I Got an Army” layers an aggressively passionate delivery over a plugg beat acknowledging that he’s got a militant force in full effect ready to go to war for him while “Tailor Made” hooks up these wavy synth melodies & hi-hats talking about having the mind of a psychotic. “Levels 2” detours into pluggnb territory courtesy of Dylvinci delivering a sequel to one of the best cuts off the Spaz&B EP that is until “Backdoor” mixes some synthesizers & hi-hats talking about busting through the back entrance all for the bag.

Lastly, “All Black” featuring BabySolid recaptures the chemistry that made their collab tape GONE M.A.D for a dark plugg cut on their vampire shit while “8 Mile” has a more straight-up plugg groove daring these pussies to drop a diss on his squad. “Yung Killa Camp” shoots for a chilled out atmosphere taking 2 minutes out of his time to rep EBG while the pluggy “Get Wicked” looks to see what’s mobbin’ when he pops out. “Take a Risk” ties up his major label debut being more talking about risk taking over keys & hi-hats needing all the bread up front.

The deluxe has 9 bonus tracks & I’ll go over them right now. “Ace of Spades” starts with a distorted trap instrumental flipping everyone while the “Enough Ammo” remix featuring Young Nudy is actually superior to the original. “Glokk’$ on Me” goes head-on rage talking about having sticks on him while “See You Again” returns to the plugg sound making it clear that he ain’t even have to reload the Glock in his pocket.

“Open Cases” hops over ominous, sinister synth pads & lead melodies, skittering hi-hats & fast percussion & snare rolls detailing the gangsta lifestyle while the grisly “Good 2 Go” calls out those actin’ all hard when they really soft as shit. “How 2 Drive” talks about risking his life in East Atlanta over a booming beat while the trippy “Codeine Dreamz” featuring OsamaSon says it all. “4 Walls on an Island” ends the deluxe by rapping over the prison cell phone mixed with this cloudy instrumental.

The final installment of the Don’t Get Took Off trilogy solidified GL4Spaz as one of my 2 favorite artists in the evil plugg scene next to Smokingskul & the risks that he took on this album here will only elevate him to the next level. He continues to deliver lyrics from a gangster’s perspective whilst sonically refining the trap sounds & subgenres that he made waves off of

Score: 4/5

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Speshal Machinery – Self-Titled review

Speshal Machinery is a newly formed New York superduo consisting of Rochester emcee/producer & TCF Music Group founder 38 Spesh as well as Buffalo emcee, entrepreneur, Drumwork Music Group founder & my personal favorite of the Griselda Records roster Conway the Machine. These guys have worked with one another on numerous instances like “2 23’s” or more recently “Lalo”, but are looking to kicking things up a notch by coming together for an eponymous full-length debut album.

The intro sets it off with drumless organs so both MCs can trade the mic back & forth with one another excellently for about a minute & a half whereas “Latex Gloves” featuring Lloyd Banks goes for a groovier direction sonically talking about pushing weight. “Last Week” dives into spacey boom bap territory boasting that they were gone 3 days flat the week leading into “Been Through” featuring Elcamino finding the trio making it clear that people don’t know everything each artist has experienced up to this point over horns, kicks & snares.

The title track is sample-based boom bap heater talking about both of them being as rare form as they come just before “Fireplace” is more of a 38 Spesh solo cut lasting only a couple minutes ruggedly comparing the trap house to a place for domestic fire with an angelic loop on top of kicks & snares. La Maquina returns for the angelic boom bap single “Goodfellas” featuring Benny the Butcher so all 3 of them can air out those salty that they ain’t on their level, but then “Unruly” works some jazzy undertones into the fold explaining how disorderly they are.

“Made Bosses” draws near the end of Speshal Machinery’s eponymous debut by cooking up a luxurious boom bap ballad with Emanny on the hook boasting about the fact that both of them have made it in the industry & “We Outside” featuring Che Noir& Pharoahe Monch closes out the album in the form of a 3-minute soulful barfest.

TCF & Griselda have long maintained a mutual respect & prosperous working relationship with one another like I mentioned at the beginning, so it made since for Spesh & Con form a duo & drop a full-length album together because I’m positive that it’s a little bit better than the Pain Provided Profit EP that Conway dropped with Jae Skeese earlier on in the year. 38 Spesh’s production is stronger & he keeps up with the Drumwork founder on the lyrical end just fine.

Score: 4/5

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Planet Asia – “Sardines” review

This is the 24th full-length album from Fresno veteran Planet Asia. Emerging as 1/2 of the duo Cali Agents, he would also go on to have a very successful solo career & has made a lengthy yet consistent discography for himself. This includes The Grand Opening, The Medicine, the DJ Muggs-produced Pain Language, Abrasions, the Apollo Brown-produced Anchovies backed by Mello Music Group, the 38 Spesh-produced Trust the Chain, the Evidence-produced Rule of 3rds & more recently the Snowgoons-produced U.Z.I. (Universal Zeitgeist Intelligence) only last fall. So when it was announced that Apollo Brown was returning so he & Planet Asia could drop a sequel to Anchovies, that was more enough to go into Sardines with high anticipation.

After the “Bird Food” intro, the first song “Get the Dough Off” really opens the album with a drumless beat likening himself to a product pusher whereas “Panama Sun” featuring Detroit battle rap veteran Marv Won finds both MCs joining forces over a more sample-based instrumental admitting that their grind is deep rooted to the point where they can’t turn away. “Stones” continues to strip the drums once more in favor of strings making it clear he’s still in office like Castro that is until “Fly Anomalies” shoots for a darker approach cautioning not to be confused by the monsters.

The General Monks link up on “Wizardry” jumping on top of a flute so that both members Planet Asia & TriState of the Durag Dynasty can compare themselves to wizards with both of their pens just before “Jungle Juice” brings back the soul dropping some late night rugged shit. “Wide Awake” cooks up a more smoother beat painting exotic portraits of the 3rd dimension leading into the organ-laced “Acid Rain” featuring Sick Jacken asking who else is bringing they type of pain that they do.

“Peas & Onions” weaves a bare sample into time fold reminding that it’s self explanatory & that we all know what does while “Broad Dayin’” talks about how the game is fake like these Hollywood bitches’ upper-lips ties into more heavy sampling within the production. “’88 S-Curl” featuring another Detroit vet Ty Farris brings back the drumless vibes displaying a back-&-forth chemistry with each other while “Bazookas” shoots for a creepier atmosphere boasting that he’s firing missiles in the studio. “Can You Believe It?” ends the album with some jazzy undertones pledging allegiance to his region of humble beginnings.

If Planet Asia & Apollo Brown were looking to do Sardines better than when they put out Anchovies together 6 years ago, they could very well have just done that here. Apollo expands on the drumless/chipmunk soul sounds of the predecessor with some jazzier undertones this time around & the lyricism from not just King Medallions but even the 4 features all go harder than galvanized steel.

Score: 4.5/5

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Madd Maxxx – “Kaleidoscope” review

Madd Maxxx is a 38 year old MC from Brockton, Massachusetts notable for being a member of the Mission: Infect collective. He’s also released a couple full-lengths along with a mixtape & 5 EPs on his own, with the last LP being Where thx Wxld Thxngs Are back in 2016 & more recently the Halloween’s Over EP celebrating it’s 1-year anniversary this past spring. But when it was announced that Crossworm had signed Maxxx to Dirtcore Music, I was highly looking forward to hearing what was in store for his debut for the label & 3rd album overall.

After the intro, “The Culmination” is a ghostly trap opener to the LP speaking to the congregation whereas “Hell Yeah” has a more energizing atmosphere to it this time around talking about how there ain’t no limits until the finish. “Fuck Around & Find Out” dives into boom bap territory with a message directed at all of his detractors out there just before the woozy trap cut “I’m Still Here” acknowledges that he’s still rockin’ it in the underground wicked shit scene to this very day.

“B.L.G.B. (Bad Little Goth Bitch)” continues forward with a cool ode to all the goth bitches in the haughhh that is until “2Gunz” featuring Sleep Lyrical gives off more of a somber trap vibe instrumentally asking if anyone knows who they really dealing with. “IDK?” hooks up this unsettling loop & hi-hats talking about not caring or really giving any fucks leading into “Lovecraftian featuring Doc Gruesome, Lo Key & Samson Samson finds the quartet showing their appreciation for the titular horror subgenre over an occult beat.

Problemattik & 9 Millz both join Maxxx to tell everyone what “Life on Stage” is really like for them backed by a boom bap instrumental while “The Merry Go Round Broke Down” featuring Crossworm on the remix ruggedly points out the fact that he’s putting his life into this music shit for 2 decades at this point. “She Doesn’t Love Me Anymore” tugs at the heartstrings a bit on all fronts by discussing a breakup while the dusty “No Umbrella” tackles the themes of depression metaphorically standing in bad weather without an umbrella.

The song “Single Dad” profoundly starts the final leg of Maxxx’s debut on Dirtcore with a piano & a melodic vocal sample giving us a look to what it’s like for him to raise a son by himself while the penultimate track “The Only Life I Know” blends these rich chords & hi-hats together talking about how those who ain’t a part of his life already are all the targets. “1 More Show” featuring Reverend Television rounds out the LP in the form of a inspiring trap closer dedicated to all their homies that couldn’t be here with them today.

Of the 3 full-lengths that Madd Maxxx has dropped thus far, Kaleidoscope stands as my favorite in his whole entire catalog & it has me ecstatic for his future with Dirtcore in general. The skits with his son throughout are ironic if anyone couldn’t tell but it’s well-produced, the feature list is pretty tight & you get a more personal look at one of my favorite Mission: Infect members.

Score: 4/5

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Jehry Robinson – “Drink More Water” review

Jehry Robinson is a 35 year old rapper, singer/songwriter & producer from Long Island, New York who came up in 2016 of his eponymous debut EP & the debut mixtape Pts. IV-VI few months later. His biggest breakthrough came around Christmas 2019 after signing to Strange Music, establishing himself with the KC indie powerhouse by dropping his full-length debut 20/Twenty the summer COVID had the world shutdown & a sophomore effort The Name’s Not Important the next fall. And with the 2 year anniversary coming up this weekend, Jehry’s commemorating it by dropping his 3rd album.

“Still Breathing” featuring Rittz & Tech N9ne is a somber trap opener to the LP that Jehry himself produced with Matt Phoenix so he & both guests display their technical lyricism & speedy flows taking everyone hostage knowing that this the life they chose whereas “Sincerity” featuring Hi-Rez finds the 2 talking about how it really might not be as bad it seems since he’s in a state of arrival with his biggest fear fucking up his momentum over an uncanny loop with hi-hats. Hi-Rez’ appearance might be the weakest on the whole album in my respectful opinion. “Out My Head” has a more melodic approaching both in terms of delivery & the instrumental owning up that he’s the one to blame just before “Memorial Day” works in what might be a slowed down flip of the acoustic guitar at the beginning of Sixpence None the Richer’s best song “Kiss Me” & I could be totally wrong on that, but anyway he does display some real pain in his voice as he sings that heaven gained an angel feeling like he’s lost a friend.

King Iso comes into the fold on the bluesy trap hybrid “No Happy Days” produced by Wyshmaster tackling the themes of mental health that Iso has become renown for ever since signing to Strange right before Jehry did leading into “Kill My Daydreams” fusing pop rap & reggae talking about not letting anyone make you feel like you’re crazy or judge you for the things you naturally find yourself daydreaming about. “His Story” keeps the positive vibes going with a moodier atmosphere admitting he’s still lost & the best things in life come with pain, but then “Old Black Benz” talks about it having sex in his titular whip with a vibrantly summery beat.

“Candy Paint” is a quasi-jazzy trap crossover laced by Dominique Sanders getting on a more boastful side of things lyrically while “NY Talk” featuring Coney Island veteran NEMS who’s fresh off his fantastic major label debut Rise of the Silverback coming together over a club-rattling instrumental representing their home state. “Mushrooms” is a hypnotic ode to the titular drug taking them at 5am prior to “Water Boy” layering some hi-hats over these fresh piano chords talking about how motherfuckers always got something to say every single time he walks into the room now & that there ain’t no competition.

The lead single “Question Why” dives headfirst into boom bap territory so Jehry can count his blessings & never questioning why while the acoustic trap “Darkness” with C-Lance behind the boards calls out someone who’s been fucking with the wrong one feeling used & abused even though he never starts shit. “Razor” returns to a more tropical feeling sonically addressing the fact that we’re still hurtin’ & it won’t get better that is until the groovy “That Way” sings about exactly the way how he likes certain aspects of his life.

“Sleep Sleep” dabbles with acoustics more singing that he’s been lost in the wind & some of his friends don’t even know who he is anymore crying himself to sleep only to roll the dice in the morning while the closer “Front Door” continues to shoot for a more stripped-back sound continuing to sing about him not knowing life without the love of his life by his side. “Get Back Up” on the other hand happens to be a horn-inflicted pre-order exclusive bonus track delivering an anthem the champions can celebrate to.

Jehry’s verse on the “Screen” remix on top of the singles that we got up to this point had my anticipation Drink More Water continuously growing & makes it seem as if he never left to start. He’s definitely shown some growth in that 104 week span toning down the amount of features from last time on top of blending all the styles that he’s become known for since making himself home at Strange Music & continuing to push his artistic range forward.

Score: 3.5/5

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Smoke DZA – “Flying Objects” review

This is the 20th EP from New York emcee & songwriter Smoke DZA. Starting out over 2 decades ago as 1/2 of Smoke & Numbers, he would eventually go on to achieve a cult following of his own by dropping 7 albums as well as 10 mixtapes & a plethora of EPs along the way. My personal favorites include the sophomore tape George Kush da Button, the Pete Rock-produced 4th album Don’t Smoke Rock & the whole 183rd-produced Ringside EP saga. But when it was announced that Flying Lotus was being brought in behind the boards throughout Flying Objects, I just knew it was destined to be the best thing DZA has done in a while.

“Spiritual” is a psychedelically futuristic opener to the EP talking about faith in the man upstairs whereas “Painted Houses” featuring Conway the Machine takes the eerie boom bap route with both of them coming together excellently cautioning to treat lightly since their respective teams the Smoker’s Club alongside Drumwork & Griselda stay strong. The latter 2 in particular. “Zelle Transfers” takes a calmer route instrumentally spitting a charismatic, 1-minute freestyle & “Drug Trade” featuring Black Thought & later Conway the Machine on the remix was a phenomenal choice for a lead single to the EP with the woodwinds, kicks, snares & mafioso lyricism.

The closer “Harlem World ‘97” featuring Estelle on the hook rounds it all out with elements of deep house & synth-funk trying to school the apple of his eye professing their love for one another. The first of 2 bonus tracks “Beyond Spiritual” featuring Big K.R.I.T. & Wiz Khalifa happens to be a sequel to the opener with the longest reigning AEW World Champion, former CZW Wired Champion, CZW World Heavyweight Champion,アイアンマンヘビーメタル級チャンピオン, MLW World Tag Team Champion, the inaugural MLW World Middleweight Championship & the current reigning ROH World Tag Team Champion MJF on the intro & the other finishes the deluxe run with a “Zelle Transfers” sequel.

I went into Flying Objects under the impression that it was gonna be a full LP, but I still came away from it looking at it as one of the best EPs I’ve heard this year. One of if not the strongest in his whole entire discography other than the Statue of Limitations collab EP with Benny the Butcher & Pete Rock obviously. FlyLo’s production is magnificently diverse in sound from boom bap to deep hip house & I really can’t remember the last time I heard DZA himself as focused as he is on here.

Score: 4.5/5

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