DJ Clay – “Let ‘Em Bleed 5” review

This is the 9th mixtape from Detroit, Michigan emcee, producer & turntablist DJ Clay. Being an in-house producer for Psychopathic Records for 2 decades already, he would also start up his own label Armed Robbery Entertainment in addition to putting out his last 8 tapes & the 2019 full-length debut Over the Fear Of…. However, the DJ for the Juggalo Championship Wrestling (JCW) hit YouTube show JCW Lunacy has finally returned ahead of a sophomore effort for the long-awaited 5th installment of the Let ‘Em Bleed series.

After the EDM intro, “Man of the Year” begins with a Clay solo track getting boastful over a vocal sample & some horns whereas “Chop ‘Em Up” by Ouija Macc hops over a trap instrumental produced by DeadBoyGrim & DJ Clay to spit the wicced shit. “After the “Yoo-Da” skit, “Dumbazz” by Bailz & Shaggy 2 Dope finds the 2 comedically poking fun at all the dumbasses while “Skrrt Skrrt (Juggalo Phonk)” by Shaggytheairhead finds the latter putting a juggalo spin on the phonk subgenre.

“Willis” brings Clay back on the mic for a trap-tinged single that we got summer responding to those claimin’ to be the man while “Party Like Us” by Lardi B kicks off the 2nd half with a decent club anthem. “Hurt You” by Shaggy 2 Dope hooks up some pianos & hi-hats addressing an individual whom the Southwest Strangla can’t get enough of leading into “Shiny Shit” by Tierre Diaz confidently giving fans what they want musically.

Violent J returns for a “Duke of the Wicked” sequel reminding everyone why the JCW Commissioner & 50% owner alongside former WWE, WCW & TNA writer and former WCW World Heavyweight Champion Vince Russo earned himself that nickname to begin with while “The Darth Fader Cut” dabbles with turntablism with the help of DJ Chunk for 110 seconds. “The Father, The Son & The Holy Spirit” marks the last DJ Clay solo joint calling to let the feelings we don’t know free from our souls while “Sorry for the Wait” by the Odd Squad Family ends with an apology for Let ‘Em Bleed 5’s delay.

I knew it was gonna be different since some of the former Psychopathic alumni who appeared on all 4 of the previous entries of the Let ‘Em Bleed saga had their ties to the Clowns severed for almost a decade, but it’s alright because Let ‘Em Bleed 5 continues the series strong showcasing where the hatchet’s been at currently with both of it’s co-founders & the CEO of it’s Chapter 17 Records subsidiary all contributing in addition to A•R signee Tierre Diaz & a couple affiliates like the Odd Squad Family or Lardi B who’ve all performed at previous Gatherings.

Score: 4/5

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SK da King – “Due Diligence” review

Here is the 4th extended play from Baltimore, Maryland emcee SK da King. Emerging as a member of the Checkered Flag Boyz under the original moniker Paul Skola, it wasn’t until a few years ago where he signed to Conway the Machine’s very own Drumwork Music Group as a solo act as announced by his debut single “Actions” & would go on to introduce himself to the Drumwork fanbase that fall in the form of the debut EP Horus. His full-length debut studio album Made 4 Thiscame after Before the Album & has enlisted Haas Almahdi to produce Due Diligence following No More Mr. Guy.

The title track begins with a powerful boom bap intro talking about him trying to build his catalog strongly whereas “Animal” featuring ItzGitty makes for the only song I didn’t care for dustily responding to people calling them beasts. “Top Spot” ends the 1st half talking about his name ringing bells & coming back hot just before “East Side” mixes a piano with some kicks & snares to explain that this is a lose-lose game along with having shit locked from side to side.

“Cruise Control” winds down the last few moments of Due Diligence talking about him riding for this shit & how heavy Drumwork moves over another boom bap instrumental while “Early Bird” gives off a more nocturnally rawer vibe talking about bringing the money home regardless of not knowing when he’ll return home. The closer “John Gotti” spends the last few minutes of the EP comparing himself to the iconic Mafia boss of the same name.

Familiarizing myself with Haas Almahdi after producing for the likes of Lloyd Banks or 7xvethegenius & more recently Courtney Bell, hearing that he was linking up with SK da King gave me the feeling that SK was gonna outdo every single EP he’s done up until this point & that’s exactly what he does. Outside of a guest appearance, Haas’ boom bap production & SK’s lyricism make for a great pairing even if it’s only for 23 minutes.

Score: 4/5

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Slift – “Fantasia” review

Slift is a heavy psych trio from Toulouse, Occitanie, France consisting of guitarist/vocalist Jean Fossat, bassist/vocalist Rémi Fossat & drummer Canek Flores. Emerging in 2017 off the band’s debut extended play Space is the Key as well as their 2018 full-length debut La Planète Inexplorée & the widely praised 2020 sophomore effort Ummon, they returned 4 years later by dropping an equally celebrated Sub Pop Records debut Ilion & are looking to outdo both of those with their 4th studio LP.

The title track opens up with an epic 9 minute intro taking some inspiration from doom metal signing about rising above our pain & finding a fire for our souls whereas “Corrupted Sky” describes a fictional town plagued by a sense of xenophobic unknowing. “The Village” continues the story finding this bigoted city welcoming an outsider like poison over progressive instrumentation just before the lead single “A Storm of Wings” blends stoner metal, progressive rock & heavy psych so our protagonist can depict the town’s downfall.

“Orbius Tertius” kicks off the 2nd half taking heavy inspiration from the late Jorge Louis Borges’ short story of the same name using idealism to ask a multitude of questions while “Waiting Man” feels like a mix of Pink Floyd & Masters of Reality-era Black Sabbath, realizing the world our hero was committed to was a lie. The 2nd & final single “The Day of Execution” again bases itself in the styles of stoner metal, progressive rock & heavy psych singing about time passing all of us prior to “Secret Mirror” sending off Fantasia with an astounding space rock outro.

Ditching the sci-fi narrative of their Sub Pop debut a couple years earlier, Slift’s follow-up ironically bares it’s name after a description of the band’s previous output for their leanest statement yet improving above Ilion & dethroning Ummon for their magnum opus. The production captures their versatility eclectically varying between space rock, stoner rock, stoner metal, heavy psych, post-metal, progressive rock, progressive metal, post-rock, doom metal & post-hardcore for a tale of overcoming international upheaval.

Score: 4.5/5

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Vybz Kartel – “God & Time” review

This is the latest studio LP from Kingston, Jamaica deejay, singer/songwriter, entrepreneur & businessman Vybz Kartel. Someone who’s widely crowned as the King of Dancehall subgenre of reggae similarly to roots reggae icon Bob Marley becoming recognized as the symbol of the entire genre that he helped pioneer. For over 3 decades, the Adidjahiem Records founder has released over a dozen EPs & full-lengths including during his decade long prison bid for Clive “Lizard” Williams’ murder. Coming off Heart & Soul last summer decently celebrating his engagement, God & Time looks to take a more personal approach.

The title track begins with this dancehall opener talking about him telling us the many lessons & blessings he’s experienced in his life whereas “Soft Girl Era” seductively tells his partner to open up her love because he’s falling right in. “Some Days” sings about the Worl’ Boss’ desire of wanting to love a woman better than the next guy leading into “Geenie” asking his lover if she would abuse his powers if he had the ability to grant wishes.

Spice appears for “Confessions” so both the King & Queen of the Dancehall can each take their rightful places at the throne just before “Stay for the Night” featuring Wizkid incorporates some Afrobeats influences so both of them can encourage their romantic interests to spend an evening with them. “Casi Casi” featuring Farruko joins forces for an atmospherically bilingual duet that I could truthfully care less for while “Panic” featuring Shenseea makes up for it bridging 2 different generations of dancehall.

“Round & Round” continues the 2nd half getting more sexual in terms of lyrics & stylistically throwing it back to his early 2010s output while “Try Again” featuring Skillibeng might be my least favorite collaboration The King & The Prince have done yet because I felt like it could’ve been somewhat longer. “Hype Life” on the other hand was quite possibly my favorite single of the bunch celebrating di Teacha’s wealth even if I wish his rival-turned-ally Mavado had a verse instead of handling the hook.

The song “Dancehall Ting” nears God & Time’s conclusion talking about the rest of the artists in this style of reggae merely being sheep compared to his greatness but once “Big Business” further embraces bashment’s main components at it’s core boasting that he’s purchasing apartments instead of blowing it all on liquor, “Watch Over Me” finishes the album on the highest note I can think of talking about themes of faith.

During his incarceration, Vybz Kartel’s lawyer would say God & Time to the Worl’ Boss so frequently to the point where he began applying it to his own life & the follow-up to his previous album over 9 months ago could likely be the most I’ve enjoyed di Teacha’s music since coming home. The dancehall production’s a considerable improvement over the predecessor mixing some trap dancehall undertones into the fold & bringing some of the genres’ biggest artists past & present on board for a well-rounded experience.

Score: 3.5/5

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Converge – “Hum of Hurt” review

This is the 12th studio LP from Salem, Massachusetts metalcore band Converge consisting of drummer Ben Koller, bassist Nate Newton, guitarist Kurt Ballou and finally frontman & Deathwish Inc. co-founder Jacob Bannon. Although their 1994 full-length debut Halo in a Haystack was moderately received, nearly everything they’ve done since has cemented them as quite possibly the greatest metallic hardcore band of all-time. Petitioning the Empty Sky, When Forever Comes Crashing, my personal favorite Jane Doe, their Epitaph Records debut You Fail Me, No Heroes, Axe to Fall, All We Love We Leave Behind when I was a sophomore in high school, The Dusk in Us & Love Is Not Enough have all been widely praised for the own individual reasons & are back with Hum of Hurt.

“Slip the Noose” begins with a metalcore intro reminiscent of the Jane Doe era directly tackling generational trauma whereas “Doom in Bloom”combines post-hardcore & sludge metal exploring how Jacob’s middle-aged introspection doesn’t always bring a brighter light. “It Only Gets Worse” spends a couple minutes angrily realizing the world’s indifference towards him & after the intimidating “Detonator” encourages one not to be blown apart by their mistakes, “I Won’t Let You Go” ends the 1st leg with the official Cyberpunk 2077theme.

Kicking off the 2nd half, “It’s Not Up to Us” made for another aggressive moment explaining there’s no end in sight without a will to fight while the doomy “Dream Debris” starts with a simple bass note that builds to a booming crescendo detailing the deception of being led to believe we could be anything we wanted to be. The post-hardcore, metalcore, neocrust & post-metal title track after the “It Used to Matter” composition emotionally examines the price of the lives we pursue & the outro “Nothing’s Over” ends on a sludgier note saying we must rage for the dying light.

Love Is Not Enough made for a great comeback for the greatest metalcore band & following a sense of urgency, Converge have outdone themselves by delivering a raw counterpart retaining the unpredictable potency of their last album. Their signature sound’s still being fused with elements of mathcore & sludge metal similarly to it’s predecessor aside from the hardcore punk undertones being swapped out for post-hardcore for another bleak yet empathetic assessment of the human condition & it’s ongoing deterioration.

Score: 4.5/5

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730atMorning – “1 Man Band” review

Minneapolis, Minnesota rapper 730atMorning preluding Context with his 2nd mixtape. Someone who would drop 3 extended plays in 2022 including Pots*, untitled & Hi, I’m Alive. He would later follow it up with the Creeper EP, the 7:30* EP, the full-length debut Asphalt, the Guarded EP, the sophomore effort albeit Virgin Music debut Under the Bridge, the Rotten Fruit EP, his previous full-length Save Your Grievance, the almost inside EP & the Insiders tape. Last we heard from him was the I Can’t STFU EP last Halloween & 1 Man Band’s offering a preview of the new era over a month after Tiffany Stratton ended ジュリア’s record-tying 2nd reign as WWE Women’s United States Champion.

After the compositional “Withered” intro, the opener “Graye” featuring Lerado Khalil begins with them talking about the fuck shaping them to the people they are presently whereas “Clouds n Rain” channels a pluggier vibe instrumentally pleading not to tempt him. “40MGs” produced by LulRose might be my favorite track here talks about trying to get back with a woman who kept putting up a fight while “My Favorite Part” splits itself into halves detailing a woman who doesn’t miss him back.

“Sequence of Events” embraces a cloudier sound altogether talking about being in charge & making the rules since he doesn’t have any corny bullshit in his life but after “God Still Take Me” talks about paying for all his sins as well as him praying for the Higher Power to take him to the afterlife, “Lost the Plot” incorporates some icy synths to talk about finding love in Los Angeles with his homies & being here today because of his hard headedness.

The track “Interesting Character” nears further towards the conclusion of 1 Man Band explaining that he doesn’t need shit from this individual since they told him to die & him reasonably taking that to heart while the final song “Body” preceding the “Repulsive” outro expresses the desire he has of giving this individual what they need even if they gotta go how he wants them to & not keeping up with his own flexes.

1 Man Band warms us up for Context with the most densest entry in 730atMorning’s entire discography & gives me confidence of this next project coming down the pipe maintaining this momentous run he’s been on since last fall. The tape’s trap production takes its secondary influences more from cloud rap, plugg, witch house & wave rather than capitalizing on I Can’t STFU’s rage, free car music, jerk & new jazz undertones & I found the inclusion of guests to be a refreshing move compared to the predecessor’s lack of features.

Score: 3.5/5

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Navy Blue – “Sir Render” review

This is the 9th studio LP from Brooklyn, New York skateboarder, MC, producer, songwriter, visual artist & model Navy Blue. Breaking out a decade ago off his debut EP According to the Waterbearer, he would go on to drop 9 more EPs & 6 full-lengths preceding the Def Jam Recordings-backed Ways of Knowing produced by Budgie to critical acclaim. Coming off the Memoirs in Armour EP along with The Sword & The Soaring however, he’s refusing to slow down giving us Sir Render almost 7 months later.

“Commencement” opens up with this drumless intro talking about capsizing & turning his life over to God afterwards whereas “Baron” produced by The Alchemist embraces a boom bap vibe instrumentally hitting us with more poetically abstract penmanship. The title track strips the drums once again talking about there being lessons in every move made while “Over” featuring Mike Shabb finds the pair bringing their A-game over a heavenly drumless loop from Shabbo himself, who kicks off that song with his verse.

We get some bare pianos explaining that his “Reflections” are the evidence of God he chose to revel in & talking about how he used to be suicidal while the self-produced “Residuum” featuring Armand Hammer joins forces for a symphonic boom bap heater filled with abstract lyricism that’ve defined each of them firing off 3 deadly verses. “Crux Ansata” drumlessly talks about his broken wings needing to heal while “Belladonna” featuring Earl Sweatshirt boasts of their successes over a somberly dusty Uncle Al beat.

“Aegis” continues the 2nd half of Sir Render remembering when he was 5 looking at his older brother’s casket asking himself whether he’ll wither or ride above it & be what fills the void in his dad’s eyes over a subdued instrumental & after “Circa” featuring the late Ka talks about being healed when we no longer hear from them despite still being here spiritually, “If God Had Legs” brings the keys back in effect describing him overcoming Ka’s sudden death a year & a half ago.

To get the album’s final act going, “Next Life” hops over yet another drumless loops talking about letting the tree falling & his exposing his roots while “The Birth of Medicine” discusses him praying for the transpiration of his grief along with the assurance of who he is isn’t who he’s perceived to be. “Bleeding Scarlet” offers a calmer atmosphere with a powerful verse to begin & the other half serving as more of an outro while “F.E.A.R. (Forgetting Everything And Running)” explains what fear is to him.

Sir Render makes for a satisfying conclusion to Navy Blue’s knighthood trilogy in which Memoirs in Armour began and The Sword & The Soaring bridged, picking up where both it’s predecessors left off & landing right behind the latter to become my 2nd favorite installment of this entire arc. Maybe surpassing it even. The production’s mostly drumless & jazzy like its counterparts other than a couple occasional moments, enlisting some of abstract hip hop’s finest past & present to make people grapple with their previous selves.

Score: 4.5/5

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Vince Staples – “Cry Baby” review

Here we have the 6th studio LP & Loma Vista Recordings debut from Compton, California rapper, singer/songwriter & actor Vince Staples Emerging as a close affiliate of the now defunct Odd Future collective, he would go on to release 4 mixtapes before signing a joint deal with Blacksmith Records & even No I.D.’s very own Def Jam Recordings imprint ARTium Recordings. My personal favorite of which being Stolen Youth, which was entirely produced by the late Mac Miller. His first major label outing Hell Can Wait was a dope little EP preluding the full-length debut Summertime ‘06, which became one of the best double disc albums of the previous decade. Vince later detailed the pitfalls that came with his success on the next EP Prima Donna & the dude’s sophomore effort Big Fish Theory was easily his most experimental work yet. He later teamed up with Kenny Beats for his 3rd EP FM! & his eponymous 3rd album but coming off Ramona Park Broke My Heart & some Dark Times, he’s ready to air out a Cry Baby.

The lead single “Blackberry Marmalade” blends conscious hip hop, post-punk, political hip hop, post-punk revival, rap rock, hardcore hip hop & experimental hip hop to talk about racism in the United States whereas “Go! Go! Gorilla” takes a funkier approach instrumentally explaining that the police have always been the strongest enemy African Americans have always had & having nobody to trust because of crooked cops abusing their power.

“White Flag” combines political hip hop, conscious hip hop, neo-soul, blues rock, rap rock, dub & post-punk for the 2nd single declaring his surrender of patience towards putting up with white supremacy just before “The Running Man” embraces more of a punk rap vibe talking about missing the days he used to aspire along with leaving his baggage behind since he didn’t feel like there was anything worthy of bringing & nobody being safe from the war that’s occurring outside.

Reaching the halfway point, “TV Guide” discusses the way television has been controlling the masses & them assuming everything they see on the news to be true prior to “The Big Bad Wolf” kicking off the 2nd half embracing a funk rock sound talking about a police officer shooting at an innocent bystander based on the color of his skin. “Only in America” once more takes a jab at the systematic racism & admits he’s been in search of a breakthrough after being hurt since last spring.

“Do You Know the Devil?” winds down the last moments of Cry Baby asking if one will find God or fall from grace life when gets hard & death gets way too close for one to be comfortable while the 3rd & final single “Cotton” crosses over elements of funk rock, psychedelic rock & conscious hip hop talking about black people’s stories of survival being exploited for money. “7 in the Morning” finishes the album channeling a more militant mindset pondering why some view the death of his people as entertainment.

It should go without saying that Vince Staples’ independent debut Cry Baby will easily become the most politically charged entry of his discography since the Hell Can Wait EP back when I was senior in high school, joining the likes of Summertime ‘06 & Big Fish Theory for a top 3 spot in his discography. The production is a rebellious melting pot of rap rock, funk rock, conscious hip hop, post-punk, post-punk revival, rap rock, hardcore hip hop, experimental hip hop, psychedelic rock, neo-soul, blues rock & dub music expressing the frustration of the rise of fascism.

Score: 4.5/5

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ApolloRed1 – “Demon Heart Radio” review

Atlanta, Georgia rapper ApolloRed1 releasing his debut mixtape under Opium Records & Interscope Records. Starting out a couple years ago off his full-length debut The Summer I Turned Red, his first few extended plays Villain as well as Vamp Diary & Tantrum were enough to have his blood cousin Playboi Carti make him the newest member of the Opium roster by dropping a Midnight Blassic. ApolloRed1 vs. the World in October continued to make some more artistic improvements & Demon Heart Radio has finally arrived after months of delays.

“#Demon” produced by Cardo made for an entertaining single that came out last weekend addressing someone he facilitated all his love for whereas “Where I’m @“ works in some heavy 808s from Bakkwoods admitting that he’s so high off the drugs that he doesn’t know his exact location. “Pink!” hops over an Ayelavish! instrumental I really enjoyed talking about pulling his Glock out like it’s a shiv while “#SRT” pulls from plugg courtesy of SOULJASPIRITS likening himself to Deadpool.

Trgc gets behind the boards for the EDM-inspired “More Time” talking about the only thing he wants is to be with this woman more just before “Love You > Myself” gives off a more hyper tone altogether pondering what to do when the drugs won’t help & speaking of someone he loves more than himself over a rage beat from Clayco & OPM BABI. “Shell” maintains the hypertrap vibes instrumentally depicting imagery of the gangsta life until putting dollar signs “OnYoHead!” over a sinister Bugz Ronin beat.

“Codeine Shower” featuring Destroy Lonely finds the 2 reuniting to end the 1st half of Demon Heart Radio talking about treating drugs like probiotics while “Can’t Go” runs it back over another Ayelavish! instrumental for a couple minutes or so assuring that shit being real life to him. “Caution” has a playful rage aura to it catching those speaking ill on his name on offense while “Geeked Up” featuring OsamaSon talks about both of them seeing red.

We have ApolloRed on the rage-inducing “ARP My Bitch” likening his AR-15 pistol to romantic lover while “Drive u” embraces more of a pluggier sound thanks to F1LTHY of Working on Dying to talk about him being on top of the hill of the Atlanta scene with the rest of his Opium squad. “Tight Pants” featuring the Homixide Gang joins forces to express their disdain for those fuckin’ with rats & while “Pullup##” winds down the last few moments of Demon Heart Radio turning up the hypertrap elements courtesy of Ayelavish! talking about going crazy soon as he hits the stage.

“Hood-Made” explains that the streets made him the person he is today over an instrumental Zodiac of Vanguard Music Group made while the outro “Set You Free” sends off Apollo’s major label debut suggesting he might let go of an ex if they weren’t meant for each other. “Machete” talks about having hundreds of dollars coming in & having a book bag for it while “NoCrash” samples “Put on a Smile” by Silk Sonic to detail his no fucks given attitude.

Midnight Blassic & ApolloRed1 vs. the World have both proven that ApolloRed1 could potentially be the most underrated signing on the Opium roster considering both of those were big step-ups from his earlier output, but his major label debut Demon Heart Radio tops both of those in unveiling a tape packed with the highest quality of rage & plugg music I could’ve expected from him. Whether it’s the consistently fun production or the guests & Apollo himself, the latter’s making it known that he’s arrived.

Score: 4/5

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Protect – “slimedude2003” review

This is the debut extended play from Buffalo, New York rapper Protect. Introducing himself to the trap & plugg subgenres of hip hop by releasing his full-length debut All on Me followed by the sophomore effort albeit major label debut Ball Hog of Life under Atlantic Records a couple years earlier, his previous LP 500 Days of Summer last August was my introduction to him & remains his strongest collection of material today. 10 months later, he’s dropping off slimedude2003.

“RAF Trench” starts us off with a plugg instrumental talking about shooting as if he’s Cade Cunningham whereas “Firearm” cloudily admits to constantly pouring lean like he’s awaiting his own death. “0s” could be a weaker moment here since he’s pretty much sandwiching an unacceptably underwritten verse in the middle of a chorus, but then “Makatussin” continues to express the love he has for consuming cough syrup over a bubbly beat from R8 of Vanguard Music Group

As for “Whole Crowd”, we have Protect talking about getting concertgoers turnt soon as he he hits the stage prior to the plugg-influenced “RE4” referencing one of my all-time favorite video games Resident Evil 4 & dissing N3on for seeking attention online. “What Doesn’t Kill U” begins the 2nd half talking about sending out convoys over a synth-driven trap beat just before “Reset” confesses to feeling overwhelmed by a handful of things.

“AC130” gets slimedude2003’s last let going talking about making opps bleed soon as he catches them while “Sk8r” samples “believe me” alyorra discussing the importance of finding yourself & getting it together. The highlight “Last of Us” produced by Cade makes a nod to another all-time favorite video game of mine & the outro “U da 1” finishes the EP with 1 last motivational anthem about the audience making an impact too by doing it.

500 Days of Summer stands tall as the most refined musical statement of Protect’s career & although I do acknowledge that slimedude2003 was meant to be a collection of “grails”, I felt that the final production turned out to be pretty average compared to his previous LP. You can definitely tell these were recorded sometime before or after All on Me & Ball Hog for Life when he was getting his footing in even if I wouldn’t call it some of my favorite material he’s done outside a couple joints.

Score: 3/5

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