BBKnight is a 24 year old rapper from Las Vegas, Nevada getting his start in the spring of 2018 by dropping his debut EP Knight’s Hive. This was followed up with 4 more EPs but after dropping the debut mixtape Beautiful Boy at the beginning of the year, it’s only right for him to returning with a 6th EP ahead of his 25th birthday that’s coming up this weekend.
“Permanent” starts things off by talking about how this life is forever with a synth-induced trap instrumental whereas “Rick Owens” is a short yet entrancing tribute to the clothing company of the same name. The retro video game sample throughout “On the Flo” is pretty cool as he boasts about himself leading into the catchy party starter “Codeine Sippin’”. The penultimate track “Tired of Yo Shit!” aggressively gets on his shit-talking bag & then “Sap’d Out” is a cloudy finisher talking about not letting these lames around him.
Of all the projects BBKnight has dropped so far, Knight Awakens could very well be my favorite of the handful & I can only see him growing going further. The production is hypnotic as fuck & his performances are at their catchiest as is the songwriting.
Politicize is a 38 year old MC/producer from Philadelphia, Pennsylvania who came up in 2014 off his debut mixtape Codename: Assassin. This was followed up the next fall with the Jason Porter-produced Grimy tape & now after a 6-year hiatus, he’s re-emerging from the shadows with his very first full-length album with some very notable features.
The intro starts things off with a synth-laced instrumental striving for victory whereas “Jelosy” almost has a bit of a trap metal flare going at the throat of a nonessential character acting famous. “Kill Karen” with Scum then gets in their wicked shit bag with a shrilling beat, but then the Blind Fury-assisted “Fury & Enlightenment” gets into battle rap mode with a tension-building instrumental. Shaggy 2 Dope comes into picture for the trap banger “We Do It” speaking on the crazy shit they do just before the keyboard-infused “Make a Nightmare” with Kung Fu Vampire gets back on the horrorcore tip.
“Anxiety” eerily addresses his mental health struggles & despite the skeletal production on “Night Walkers”, I do enjoy the dark verses from Politicize & Mastamind. The penultimate track “Ring of Fire” is an electro-trap fused moshpit starter & finally, Shoto Khan tags along for the theatrical closer “Cartel King” proclaiming they won’t die slow.
In comparison to his early mixtapes, I think it’s safe to say that Riot is a significant improvement in terms of both production & lyricism. However, there are a few cuts in here where his flow is blatantly similar to Ouija Macc’s & it can be pretty distracting.
If you know a single thing about hip hop, then you should know who Nas is. His first 2 albums illmatic & It Was Written are widely acknowledged as some of the greatest in hip hop history, but I wanna remind everyone that those aren’t the only 2 good albums he’s ever made. I also highly enjoyed stillmatic, The Lost Tapes, God’s Son & Life is Good. Then there was the Kanye West-produced NASIR & The Lost Tapes II, both which received polarizing responses even though I felt like they were fine additions to his catalogue. Then came the Hit-Boy-produced King’s Disease last summer, which I maintain is what the untitled album should’ve been. However after winning his first Grammy back in March, the pair are reuniting for Nas’ 14th full-length album.
“The Pressure” is an airy boom bap opener saying he has to inspire people like he hasn’t already whereas “Death Row East” recalls his run-ins with Suge & the instrumental has a bit of a Middle Eastern flare to it. “40 Side” goes into more trap territory recalling the place where he saw it all while “EPMD 2” serves as a sequel to “EPMD” off the Judas & the Black Messiah soundtrack, except Eminem & EPMD themselves actually pop up.
Meanwhile on “Rare”, we go back into boom bap turf saying he’s in the zone just before he & A Boogie wit da Hoodie talk about getting places poppin’ off when they pop up on the trap banger “YKTV”. The soul sample “Store Run” works in is sweet as Nas pays homage to those we’ve lost in the last 8 months leading into the nostalgic “Moments”.
“Nobody” has a bit of a jazzy feel in the production with him & Lauryn Hill about a place that you wouldn’t know problems whereas “No Phony Love” is a mediocre sex cut if you couldn’t tell by the title. “Brunch on Sunday’s” works in some keyboard melodies getting in his Esco bag whereas “Count Me In” drearily exposes who the fake really are.
The song “Composure” with Hit-Boy himself finds the 2 jumping on top of a jazzy beat co-produced with Rogét Chahayed talking about them raising the totem while the penultimate track “My Bible” gets spiritual from the lyrics to the gospel-tinged instrumental. Lastly, the closer “Nas is Good” brings back another soul sample to lyrically annihilate everything in his path.
I was a bit worried about this going into it because sequel albums usually don’t live up to the hype of the predecessor, but that is NOT the case for King’s Disease II. Hit-Boy shows his versatility as a producer, Nas sounds more sharper lyrically & it doesn’t seem like a bunch of leftovers from previous sessions.
Bang Belushi is a 43 year old MC from Detroit, Michigan emerging as as 1/4 of the world famous Fat Killahz. However, it wouldn’t be until 2011 when the veteran branched out solo by releasing his debut EP The Bridgecard. This was followed up with help yourself. in 2017, but then he signed to Middle Finger Music & put out his Foul Mouth-produced debut album The Adventures of Bang Belushi at the tail-end of the following year. The pair reunited for Rudy back in March & now Bango is enlisting Wavy da Ghawd for his 3rd full-length outing right here.
The intro kicks things off with grimy instrumental & with him saying you’ll go crazy hearing this whereas “Barz” works in a fresh reggae sample to flex his lyrical prowess. “Radio Flow” has some great horn loops to get on his fly shit just before J-Classic & Marv Won come into the picture on the flute heavy “New Pac” saying they feelin’ like the iconic MC of the same name.
Meanwhile with “Run Shit”, we go into more orchestral territory for Bango proclaiming he’s taking over the rap game leading into “$1” working in an organ-heavy instrumental. “Knuckle Up” with Ketch P & Rim is of course a gully moshpit starter whereas “Here We Go” enlists Kain Cole to ominously get on the battle tip.
The song “Shoe Game Crazy” is a slick ode to Bang’s documented love for sneakers while the penultimate track “Hardcore” with Pro Dillinger finds the 2 calling out those puttin’ on a front over a funky beat. “Lights, Camera Action” then serves as a touching closer with it’s string samples & the reflective lyrics.
Didn’t expect Bango to put out a follow-up this quickly, but I’m glad he did because I enjoyed this almost as much as his first 2 albums. He sounds focused, the songwriting is as witty as ever & Wavy’s production is a good fit given the fact that a good portion of Middle Finger Music’s output goes for that New York boom bap sound.
Homeboy Sandman is a 40 year old MC from Queens, New York who came to my attention when he dropped his 4th album albeit his Stones Throw Records debut 1st of a Living Breed almost 9 years ago at this point. The dude would go on to drop 3 more full-lengths & 7 EPs with them before jumping ship to Mello Music Group in 2019. His first album on the label Dusty was alright, but the Quelle Chris-produced Don’t Feed the Monster. that came out last October was much better. But after forming the duo Lice with local wordsmith Aesop Rock & dropping 3 EPs together, we’re actually getting a change of pace as Sandman’s letting Aes produced his 8th EP from front to back.
“Go Hard” is a charismatic opener about being in beast mode with some guitar licks whereas “West Coast” is a g-funk banger with references to “Hail Mary” & “Hand on the Pump”. Meanwhile on “F.Y.I. (For Your Information)”, we go into a bit of a rock direction for Sandman to talk about how he’s still dope after a decade just before continuing to bust into a more speedier flow on “Cow’s Milk” & the beat on here is kin to 70’s exploitation films. The penultimate track “No Beef” is a powerful vegetarianism anthem & the closer “Lice, Lice Baby” works in a piano instrumental possibly preluding Lice 4.
I think Anjelitu has to be my favorite project that Sandman has dropped under MMG so far, although I do enjoy the vulnerability of Don’t Feed the Monster. It’s really interesting to hear him put his own spin on the whole yin/yang concept in Ancient Chinese philosophy & it just goes to show that we don’t talk about Aes’ production skills as much as his massive vocabulary.
This is the 2nd EP from Detroit emcee/producer Marv Won. Coming up as a part of the world famous Fat Killahz, he has gone on to become well respected in the battle circuit & has released a total of 4 solo albums, with the latest being Sooner Than Later this past winter. But out of nowhere, Marv has decided to drop Rabbits Can’t Shoot on Bandcamp for 24 hours only just to see who really fucks. with him.
The title track at the very start of the EP has a soulful boom bap instrumental criticizing the saying “ain’t no fun when the rabbit got the gun” whereas “E.A.R. (Everybody A Rapper)” is a grimy shot at wack emcees. Clemmye, Guilty Simpson & Ty Farris tag along for the cold blooded “Harmony Korine” leading into him proclaiming that he speaks in “Divinity” accompanied by an angelic beat.
The harmonious “Raise a Glass” calls out those praying on his downfall & still being here while the penultimate track “Spin the Block” works in a soul sample talking about getting money for all intensive purposes. The closer “Like My Daddy” with Ro Spit is a beautiful piano ballad looking back on their childhoods.
For a surprise release, Rabbits Can’t Shoot absolutely delivers. Marv gets a lot off his chest through the pen, almost all the features come correct & I still maintain his production is the best it’s ever sounded after all these years in the game.
The Creatures of Habit are a boom bap trio consisting of Bristol, England, United Kingdom emcees Eric the Red & Sean Peng alongside London producer Illinformed. Introducing themselves collectively in the fall of 2016 off their debut album Test Subjects under Real Life Drama Records, these guys would go on to spend the next 5 years focusing towards their own individual endeavors & have decided to make a comeback in the form of a sophomore effort through the Glastonbury, Somerset underground imprint for old time’s sake.
“Faking No Moves” cooks up a horror-inspired boom bap instrumental to start us off talking about having 0 time to be doing that bullshit whereas “Still Buggin’” works in some pianos mixed with kicks & snares to describe courts wanting to search on top of the police duckin’ ‘em. “I Keep It Me” featuring Datkid goes for a jazzier vibe talking about staying true to themselves just before “No Smoke” ruggedly dismantles anyone wanting beef with them.
Leaf Dog & Pertrelli join the Creatures on “Won’t Lie” combining more keys, kicks & snares to talk about always blowing out speakers in addition to rocking out guest appearances leading into “2 Tokes” featuring BVA links up for a playfully jazzy weed smoker’s anthem. “Bug’s Life” sounds more like a brief Eric the Red solo cut clocking at only 66 seconds in length while the soulful “Alone” featuring Leaf Dog regroups to talk about loneliness.
“Deadly Techniques” continues the 2nd half of Parasite’s Paradise trading hardcore verses with one another over a rigged boom bap beat regarding their lyricism still being gruesome as it was when they initially formed & after “The Devil’s Hands” talking about crime paying although those committing them eventually taking responsibility for their actions in due time, “Strange Trip” featuring Jack Jetson crosses paths with one another to drop 3 verses of speaking of their status amongst an endangered species of MCs.
The song “Brain Surgery” by Sean Peng counters Eric’s solo joint “Bug’s Life” earlier on turning the jazz influences to instrumentally leaving the people who fall in traps right where they are while “Wormhole” brings both spitters back together on the mic so they can take a few minutes to talk about the world becoming more dystopian than science fiction. “Hands of Time” finishes the Creatures’ return wraps things up with 1 last jazz rap/boom bap fusion confessing that there are moments in their lives where they wish they’d go back & fix which I do to, but we can’t.
It’s not very often when the Creatures of Habit appear on a song or make a musical statement of their own considering the gap between this & Test Subjects, but what I can say regarding their 2nd album is that I like it a lot more than it’s predecessor 6 years prior. Illinformed’s boom bap production is a lot more jazzier than Test Subjects’ was for fans of jazz rap like myself, there’s a respectably shorter guest list & the chemistry between Eric the Red and Sean Peng continues to elevate one another in terms of performances.
Yeat is a 21 year old rapper from Portland, Oregon who first emerged in 2018 off his debut EP Deep Blue Strips. He just dropped his 3rd mixtape Alivë back in April as well a 4th tale 4L just a couple months back but with his next full-length Up 2 Më in the works, Yeat has decided to give listeners an appetizer before the main course with his 5th EP.
“Mad ‘Bout That” kicks things off with a grisly sequel to “Sorry ‘Bout That” whereas “Fukit” is an energetic follow-up based around the expression of nonchalance. The penultimate track “Insidë Out” with SeptembersRich finds the 2 flexin’ over an instrumental from Rio Leyva of Internet Money Records that sounds clearly inspired by Playboi Carti’s Whole Lotta Red & then the closer “Tonka 2” serves as a wavy sequel to “Tonka” off Alivë produced by BNYX from Working on Dying.
This kid’s profile has only been increasing within the last couple months & it’s really not hard to see why. I think he has a unique voice, the hunger is there in his performances/songwriting & has a decent ear for production. At this rate, Up to Me will definitely propel him to the next level.
This is the 5th EP from Toronto, Ontario, Canada emcee Daniel Son. Coming up as a member of the Brown Bag Money collective, his profile began to rapidly increase in the underground off projects like his debut mixtape The Gunners or the sophomore album Yenaldooshi. He recently dropped the Cuns-produced EP Dojo back in March to commemorate the 1-year anniversary of his previous album Dirty Dishes, but is now enlisting Ramzee for JWP.
“Above the Law” has a bit of a woozy feel in the instrumental with Daniel talking about how the cops will never catch him whereas “Tempo” is an airy boom bap cut saying he used to smell the hate on the new believers. “Haunted” goes into a more jazzier direction talking about your girl checking him naked just before proclaiming he’ll make sure the coast is clean on the soulful “Pinot Gris”. The penultimate track “Fried Burbot” works is a rap rock cut detailing the mud life while “The Ends” finishes off has a great trumpet loop & lyrics about the struggle never ending.
Dojo was good, but JWP to me is a much more consistent product. I like how Ramzee’s production ranges from boom bap to jazz & at this point, I think Daniel Son could very well be my favorite lyricist in the Canadian hip hop scene right now. I hope this & Dojo are warm-ups for a new album because I would love for him to get an all-star lineup of beat-makers on it.
This is the latest EP from Atlanta, Georgia emcee/producer Tha God Fahim. Coming up as an affiliate of Griselda Records alongside Mach-Hommy & Your Old Droog, he also has a incredibly vast discography with a couple of standouts being Breaking Through tha Van Allen Belts & Dump Assassins. His 18th full-length album Dump Gawd: Stock Lord just dropped a little over a month ago & after Nicholas Craven teased a project with him on Twitter recently, we’re finally getting it in the form of Dump Gawd: Shot Clock King.
“Dear Friend” is a beautiful piano ballad to open up the EP with him & Your Old Droog saying they’re always cooking referencing 14-time WWE world champion, WWE Hall of Famer, 5-time WWE Intercontinental Champion, 3-time WWE tag team champion & current WWE COO Triple H alongside 2-time WWE Hall of Famer, 6-time WWE world champion, 4-time WWE United States Champion, 14-time WWE tag team champion, 2-time WWE Hardcore Champion, RoW Tag Team Champion & TNA World Tag Team Champion Booker T whereas “Look What You Done” takes a more soulful approach talking about being strapped. Droog returns to ask the listener introspective questions on the lachrymose “Lost His Way”, just before dedicating the heartfelt “Wit Out a Question” to his peoples. Especially with the chilling vocal loop.
The song “Big George Bombs” is the only one on the entire EP that Craven didn’t produce, but I love the harmonious sample Fahim flips for him to say he’s loading up like George Foreman did to Joe Frazier. The penultimate track “Crypto” goes into chipmunk soul territory talking about that’s what he blew his $100K on while “Bitter End” serves as a jazzy closer calling out those who’re trying to keep him piss poor.
Stock Lord was good, but I like this a lot more & I’ll even go as far to call it one of the best Fahim projects yet. He’s at his most genuine on some of these cuts & Nicholas Craven continues to solidify himself as one of the best producers in the underground today.
