Shoestring – “Da Pandemic” review

Shoestring is a 48 year old MC from Flint, Michigan who came up in the mid-90’s as a member of the trio The Dayton Family. However, it wasn’t until 1999 when he put out his solo debut Representin’ Till the World Ends under Tommy Boy Records & then followed it up 2 years later with the Reel Life Productions-backed Cross Addicted. Shortly after, Shoestring focused on DF for the next 15 years & eventually returned on his own in own in 2016/2017 by dropping Fix My City & Black Friday respectively. But as the 2 year anniversary of The Bake Up Boy came & went last month, he’s enlisting MonStar Entertainment in-house producer Lennon Smiley for his 6th full-length album.

The album begins with “Da Bomb Weed”, which works in some piano embellishments saying that’s what he chokes on. “Fuck Pop” is a grimy yet vibrant ode to stacking bread whereas “Get Rich” continues the themes of the previous cut except it takes a more hyphy direction. “Kill You” needs no further explanation with it’s combative lyrics or it’s baleful instrumental just before “Do Do Brown” works in these guitar licks & horns to spit that nickel bag hustler shit.

Meanwhile on “Ice Cold”, we get Shoestring bragging about himself over a Bollywood-influenced beat leading into gruesome trap cut that is “Murderers”. The song “Timbos” gets back on the hustler shit over a glum instrumental while the penultimate track “2020” formidably talks about getting back to business after COVID fucked everything up last year. Finally there’s the closer “Coka Cola”, is a piano trap ballad ode to that powder.

If you ask me, Da Pandemic is one of the best solo efforts Shoestring has put out to date. Whether he’s by himself or with Bootleg & Backstabba, dude’s always been a seminal part of the gangsta rap subgenre & his writing on here are no different. Lennon Smiley is also becoming amongst my favorite producers out of this reviewer’s home state right now because the wide range of sounds he brings to the table is fantastic.

Score: 4/5

(həd) p.e. – “Sandmine” review

This is the 6th EP from renown Huntington Beach g-punk outfit (həd) p.e., which has always been masterminded by Jahred Gomes despite it’s revolving door of members throughout the 27 years they’ve been together. Standouts in the crew’s discography include their self-titled debut, Broke, Back 2 Base X, Insomnia, New World Orphans, Truth Rising & even their previous album Class of 2020 that came out the day before Broke’s 20 year anniversary last summer. It was originally intended to be the group’s last effort for a while but due to the COVID-19 pandemic as well as the 2020 presidential election & the birth of Jahred’s daughter, (həd) p.e. is channeling all of their inspiration from all 3 of those events into Sandmine with the help of Suburban Noize Records backing it.

The title track is a thrashy opener quenching for blood whereas “False Prophets” serves as a punky jab at Donald Trump. The song “R.T.R. (Respect The Republic)” goes into rap rock territory talking about rebellion while the penultimate track “Deathtrip” is a skate punk joint with Jahred talking about risking his life. Finally there’s “Let Me Know”, which is a reggae rock cut trying to figure out what’s on his lovers’ mind.

Class of 2020 was a great throwback to (həd) p.e.’s roots & Sandmine is just as great to me personally. Once again, they’re taking it back to the basics except Jahred & company sound a lot more pissed off than they did when we last heard them 11 months prior.

Score: 4/5

Madchild – “Shane” review

Madchild is a 45 year old MC from Vancouver, British Columbia, Canada coming up as part of the trio Swollen Members & the founder of Battle Axe Records, but would be until 2012 when he officially broke off solo with his Suburban Noize Records-backed debut album Dope Sick. He would later go on a hot streak of follow-ups including Lawnmower Man, Silver Tongue Devil, the Evidence-produced The Darkest Hour & Demons. But even though he went into a more trap direction on The Little Monster LP last winter, the results of that stylistic change weren’t all that interesting & the sequel he dropped back in the spring The Little Monster LP 2 were slightly better. Nonetheless, I was still very much interested in seeing what Madchild would pull off this double disc 8th full-length album of his.

“Alone” starts off the album with a downcast ballad produced by Jimmy Donn venting about never feeling so lonesome whereas “Boxed In” is a trap cut saying he feels brand new. “MVP” goes into boom bap territory with the help of C-Lance going on about how he “ain’t putting any food on anybody’s plate unless they’re on my team” before declaring himself as an alpha male on the vibraphone heavy “Suck It”.

Meanwhile with “Lone Wolf”, we get a Hellish ode to the 1 Man Gang movement just before jumping on top of a comatose trap beat saying he’s “Underrated”. Of course “Not in Control” addresses his past drug use on top of a post-&-pans instrumental whereas “Mental Hellth” is SLATHERED in auto-tune talking about being the Devil’s play-thing. “God’s Child” works in a symphony saying he was failing the higher power while “Evolved” goes back into that trap sound saying he’s a changed man.

The song “Why I’m Mad” is a misty warning saying you shouldn’t fall for bullshit while the penultimate track “Forgiveness” is a piano ballad apologizing to everyone he’s hurt. Finally there’s “Cojones”, which is an almost electronic-tinged closer talking about swimming with the sharks & dancing with the wolves.

Madchild been grinding hard all year & it’s really been paying off because I think this is a solid effort from him. Dude really takes you through how much he’s bettered himself in the last couple years & the production choices have improved also. I know he said Shane 2 is coming soon & I’m curious to hear where that goes.

Score: 3.5/5

S.O.N. – “Grant Us Eyes” review

S.O.N. is an MC from Sharon, Pennsylvania notable for his associations with the Legion Realm & the Hivemind movement. But for his official full-length debut over here, he has enlisted Billy Obey produce the whole thing from top to bottom which immediately caught my attention given that Billy is 1/3 of what I personally believe to be the greatest horrorcore act to come up within the last decade: Alla Xul Elu.

After the “A Terrible Fate” intro, the title track is a Hellish opener speaking on dark energy surrounding him whereas “E.V.I.L. (Everything Vile Inside Legion)” takes a turn into boom bap territory repping the Legion Realm. “King of Dark Energy” proclaims himself as such on top of an occult instrumental while “Breathe” somberly depicts a dark messiah encouraging this man & woman to become a part of him.

Meanwhile after “The Descent” interlude, but “The Mouth of Madness” grotesquely depicts a place where only the strong survive just before Xul themselves tag along to embrace their sins for quasi-rap rock tinged “Amen”. He later fucks with Samaritan witchcraft on the misty “The Bridge” leading into him talking about losing his mind for the dusty “What’s That Noise?”.

Following the “Order of the Blue Rose” interlude, “Feed the Beast” takes the trap route to describe the antichrist whereas the heinous “Eye for an Eye” talks about a demon being summoned by the tears of the broken. The penultimate track “The Blessing” calls to a higher power in wicked boom bap fashion & then the closer “The Hive” talks about a beast that goes by many names accompanied by a buzzing instrumental.

I can only imagine S.O.N. going places from hereon out because I highly enjoyed what he brought to the table with Grant Us Eyes. Dude’s lyrics are amongst the darkest that you’ll hear all 2021 & of course Billy Obey knocks it out of the park on the production end of things.

Score: 4.5/5

Ransom – “Heavy’s the Head” review

This is the 3rd full-length album from Jersey City emcee Ransom. Coming up as 1/2 of the short-lived duo A-Team alongside Hitchcock, he branched out on his own following their disbandment beginning with his 2008 full-length debut Street Cinema & the Statik Selektah-produced sophomore album The Proposal. But it’s safe to say 2020 was his biggest year yet so far, dropping a total of 5 EPs produced entirely by Nicholas Craven & all of them being equally stellar. Then the dude dropped 7 last month, which is a well executed concept EP based around the 7 deadly sins. However, all of this has been leading up to Heavy is the Head produced by Big Ghost Ltd. from start to finish.

“Lord Stark” starts off the album with a 1 minute skit & then Ransom jumping over some heavy synths to see who can propel higher than him whereas “All the Kings Men” is pretty much Mickey Factz & J. Arrr tagging along to leave a piano instrumental scarred up like they said they would at the end of the first verse. “Ransom the Destroyer” works in a Viking-esque beat to proclaim himself as such referencing the inaugural IWGPヘビー級チャンピオン, former 12-time WWE world champion, WWE tag team champion & 2-time WWE Hall of Famer Hulk Hogan just before RJ Payne assists him for the symphonic battle rap cut “The Red Wedding”.

After the “King’s Intermission” interlude, “Tyranny” is a heartbreaking portrayal of how people are cold blooded while “Blackwater” is a rock-tinged barfest appetizing heads for his upcoming collab album with Rome Streetz. The penultimate song “Off With His Head” with the Heavy Metal Kings & Lou from Paradise is basically the quartet quenching for blood over a dusty instrumental & after the “King’s Landing” interlude, the closer “A King’s Ransom” has these haunting choir vocals throughout & it’s about how a fortune is granted to whoever hands him a traitor.

I’ve been listening to this dude for almost a decade now & I gotta say: Heavy is the Head is the best body of work that Ransom has attached his name to yet & one of the best things you’ll hear in 2021. Dude’s in his prime lyrically & Big Ghost’s production is epic as fuck! God can only imagine how his next album with Pete Rock will sound.

Score: 4.5/5

B-Side – “The Essence” review

This is the long-awaited debut EP from Detroit emcee B-Side. Most notable for being 1/2 of the duo Sidenotes, the man wouldn’t branch off until the release of his debut mixtape The Vertigo 1.5 in the summer of 2013. This was followed up the next year with A Side Called B & then B-Side Wins Again at the tail end of 2018. However, it’s been all leading up to The Essence right here.

“20 Million” kicks things off with a dusty boom bap instrumental from Foul Mouth & the amount B-Side wants until he retires whereas “Mission Statement” takes things into soul/electro turf with the help of Black Bethoven telling you to consider this as such. “Supply & Demand” is a bluesy Sidenotes reunion as if they never left leading into the almost jazzy & vivid story of the “Invisible Man”.

Meanwhile on “Listen Up”, we have Mr. Wrong & Tone Plummer coming into the fold to turn the track into torture porn with an almost funky instrumental just before he takes you on some “A.P.A. (Action Packed Adventures)” with a booming beat from Konnie Ross. The title track has a bit of a spacious feel with the help of Pig Pen reminiscing on his come up as an artist, but then “The One & Only!!” closes things out with a rock-influenced instrumental from DJ Los & lyrics about his uniqueness.

Been a long time coming, but I’m glad this day has finally come because you’re hearing B-Side at his best throughout The Essence. Dude’s pen-game is witty & I dig how he sticks to that vintage hip hop sound.

Score: 4/5

Rigz – “Wake Ups” review

This is the sophomore album from Rochester emcee Rigz. Coming up as a member of the Da Cloth, the man as released a couple EPs & mixtapes in the last 4 years prior to his critically acclaimed collab album with Mooch & Big Ghost Ltd. entitled The Only Way Out at the tail-end of 2019. Then came Rigz’ full-length debut Substance Abuse a little over 7 months ago, which was entirely produced by Futurewave & became one of my favorites of last year. However to warm fans up for his upcoming album with DJ Muggs, he’s preluding it by dropping Wake Ups.

“Coconut Water” is a dense opener saying he’ll always have his foot under your neck whereas “Wipe da Timbs Off” enlists Illanoise, Mooch & Times Change for a dramatic anthem representing their crew. Rob Gates comes into the picture on “Trophies” to work in some background vocals with the help of Chup & lyrics about proving that you actually fuck with them just before saying he’s the one who’s gonna get it for the family on the chilling “Show You”.

We have Ransom tagging along on the soulful “Da Predicament” to describe their own unpleasant situations & after the “Sobrinos” skit, Rigz jumps on top of a dreary instrumental from Giallo Point to tell the listener to “Get Urs”. The guitars on “Let Me” are pretty epic given that he’s talking about wanting to murder a deceitful person leading into Mooch coming back in the picture to talk about how they don’t know what to say because they ain’t got to say shit for the rich “Beach Chairs in Marcy”.

Meanwhile on “Misled”, we have Rigz & Times Change pondering the value of trust over a piano & a vocal sample whereas “No Mercy Rule” with M.A.V. & Symph is a killer rap rock cut with all 3 spitters talking their shit. The song “Swole Hearted” serves as a dejected depiction of how someone can get a cold heart sometimes while the penultimate track “Throw It Away” is a symphonic plea not to waste your gift. Finally, the closer “Grateful” has a soul sample & lyrics about his gratitude.

If you loved Substance Abuse as much as I did, then I don’t see why wouldn’t enjoy Wake Ups on the same caliber. Dude continues to prove himself as one of the illest lyricists in New York at the moment & Chup really hones in on the raw production. Beyond excited to hear what he has in store with Muggs.

Score: 4.5/5

Ken Carson – “Project X” review

Ken Carson is a 21 year old rapper from Atlanta, Georgia breaking out in the SoundCloud scene & becoming a protege of Playboi Carti as one of the first artists to sign to the latter’s newly founded label Opium Records after originally starting a part of the 808 Mafia. But after a total of 5 EPs under his belt, of course Ken had to bring it full circle on this debut album of his.

“Who’s Next?” kicks the album off with an accordion & hi-hats talking about passin’ hoes like tests whereas “Rock n Roll” is a spacious banger produced by Outtatown about him trippin’. “Party All Day” serves as an uptempo sequel to “Butterfly” just before addressing people switching up on the minimalist “Change”.

Meanwhile with “Run + Ran”, we have a 2-parter about feeling like Pac & stacking bands with the 2nd half being much stronger leading into the bass-heavy stripper theme “Shake”. The kid later reveals that he’s got a lot of hoes on the distorted “Hella” prior to the dramatically threatening “Clutch”.

The song “‘Till I Die” works in some more synths & snares talking about he’ll always be counting racks while the penultimate track “Burnin’ Up” addresses his increasing profile over an instrumental from Dynox of Internet Money Records with a bit of an electro flare. Then the album ends with “So What”, which vibrantly details a 1-night stand.

For those who’ve never heard of Ken, I think Project X is a solid place to start off because what he is to Opium is what Gunna was to YSL & by that I mean I think he’s gonna become the label’s biggest signee behind the founder. Some of the production choices could’ve been a little bit better to me, but I do enjoy his youthful enjoy quite a bit.

Score: 3.5/5

Destroy Lonely – “XO” review

Destroy Lonely is a 19 year old rapper from Atlanta, Georgia notable for being the son of former Disturbing tha Peace Records signee I-20. He’s released a total of 10 EPs since originally breaking out through SoundCloud a couple years back & with his born day coming up next Friday, he’s celebrating by dropping a 11th EP out of nowhere further garnering interest of record labels eager to make him a part of their roster.

“tokyoto” is a spacey, boisterous way to kick things off whereas “i got ‘em” shows off the shit he has now on top a peppy trap beat from Ginseng. The song “okay ya!” takes a more lo-fi direction to address those who say he changed up while the penultimate track “do the most…” works in some heavy bass & vintage video game samples from Clayco saying he didn’t have to ask for shit. Then there’s “Ok (What I Do)”, which is a cloudy finisher saying they can’t replicate him.

Personally, this could very well be my favorite EP that Lonely has put out thus far. His songwriting is catchy as are the performances & his ear for production is admirable too. Definitely someone to be looking out for in the SoundCloud scene right now. Looking forward to what he has to offer on No Stylist.

Score: 3.5/5

Pop Smoke – “Faith” review

This is the sophomore album from New York rapper & singer/songwriter Pop Smoke. Emerging in the summer of 2019 off his debut EP Meet the Woo, things were looking like the Brooklyn drill pioneer was just about to take off until he was tragically murdered in a home invasion less than 2 weeks after Meet the Woo 2 dropped last February. Pop’s full-length debut Shoot for the Stars, Aim for the Moon was later completed by the hands of his idol 50 Cent & just celebrated it’s 1-year anniversary at the beginning of the month. As for the actual music on that album: I personally was indifferent towards it because as much as I adore 50’s output both solo & with G-Unit from 2002-2006, he made it sound a lot more commercial than it really needed to be. So to see he had no involvement with Faith gave me hope that I’d like it more than Shoot for the Stars, Aim for the Moon.

After the “Good News” intro, the first song “More Time” is an endearing piano ballad produced by 808Melo about how that’s all he needs whereas “Tell the Vision” featuring Pusha T finds the duo boasting their success on top of a menacing trap beat from FNZ & Kanye West. I also dig Push acknowledging Call Me If You Get Lost as the 2021 AOTY so far as well as teasing his upcoming album & calling someone who I refuse to acknowledge on my platform a clown without sounding like beating a dead horse. He & Rick Ross get murderous on the soulful “Manslaughter” that Jake One laced leading into the acoustic materialism anthem “‘Bout a Million” with 21 Savage & 42 Dugg.

Meanwhile on “Brush ‘Em”, we have Rah Swish tagging along over a chilling sample to spit that gangsta shit just before the triumphant “Top Shotta” featuring Pusha T & TRAVI along with The Neptunes behind the boards. Bizzar Banks comes into the picture to talk about being sleazes on the cinematically produced “30” while the spacious “Beat the Speaker” grimly talks about Pop being the man. “Coupe” has a nocturnal instrumental whilst returning to the gangsta rap themes just before he & Takeoff talk about having a lot of guns for the cavernous “What’s Crackin’?”. The choir vocals on the Lil Tjay/Swae Lee assisted “Genius” are chilling as the trio are proclaiming themselves as such while he & Future talking about 100 bitches that’s ready to fuck.

After the pointless “Woo Baby” interlude, the actual “Woo Baby” song itself is an attempt at a radio hit saying he & Chris Brown like their yummy yellow whatever the fuck that’s supposed to mean while the moody Dua Lipa duet “Demeanor” finds the 2 talking about his shawty. “Spoiled” even though it’s 2 minutes long is what “Woo Baby” should’ve been while the song “8-Ball” with KiD CuDi serves as a guitar ballad produced by Swizz Beatz about robbin’ ‘cause they never had nothing. The penultimate track “Back Door” with Kodak Black & Quavo sees the trio lavishly looking back on what their mothers had told them growing up & the closer “Merci Beaucoup” beautiful tells listeners that he ain’t got shit to prove to nobody.

Now I like this a bit more than the previous Pop Smoke album, but just by a very small margin. Some of the features either hit or miss & I really appreciate how it doesn’t try as hard to appeal to a nonexistent radio market like Shoot for the Stars, Aim for the Moon did.

Score: 3/5