D-Loc – “25 to Life” review

D-Loc is a 43 year old rapper, producer & DJ from Placentia, California known for founding the rip hop outfit Kottonmouth Kings along with his childhood friends Saint Dog & Johnny Richter in 1996. Despite the revolving door of members within the last 25 years, the Kings would release a chockfull of material together. My personal favorites of which being Royal Highness, Hidden Stash, High Society, Hidden Stash II: The Kream of the Krop, Rollin’ Stoned, Fire It Up, Cloud 9, The Green Album & Mile High. However, it wouldn’t be until 2010 when Loc dropped his solo debut Made for Kings under Suburban Noize Records. This was followed up at the tail-end of 2018 with the sophomore effort Ripperside & now just 6-months after Saint Dog’s unexpected passing, we’re getting a new “Kottonmouth Kings” album that only D-Loc has been promoting for the past several months.

The first song following the intro “P.T.B. on the Creep” contains an instrumental kin to Dr. Dre & Scott Storch that I actually like, but it’s funny how D-Loc says anyone who thought the group is done is crazy when he’s actually continuing to bury the name himself by doing it solely. The next track “Orange County” is a short punk rock tribute to the SoCal region that raised him, but then Damn Dad himself is featured with Loc for the next 5 songs starting off with the rap metal-influenced “Fight Music”.

We go back into the punk shit on the fittingly titled “25th Anniversary” before taking a mellow detour on “Dance the Block”, which encourages the listener to be lifted brainlessly. The song “New Day” seems like they’re trying to recapture the spark of “Positive Vibes” except it has a more reggae influenced sound & then before Damn Dad hops back on the boards, he & D-Loc deliver the punky moshpit anthem “Kings of the Underground”.

The g-funk influenced “OG King” is pretty much Loc proclaiming himself as such, but then “Anarchy” is the definition of fake woke as the beat fuses together elements of trap & metal. After an interlude, the track “Away We Go” incorporates as a jangly guitar & some whistling with lyrics obviously being about smoking weed whereas “Time Flies” reminisces on his career over a hyphy instrumental.

“Paisley Grey” is a sincerely endearing tribute to D-Loc’s youngest daughter while the song “Home” goes into a more psychedelic trap sound as he details his family life. Damn Dad is featured 1-last time on “Web of Lies”, which is a garish punk/trap crossover about how KMK will never die. The track “Watch It Grow” is a stripped back anthem about weed being legalized nationwide & then “Legends Never Die” is a wavy tribute to Saint Dog. But before the outro, the final song “Don’t Forget Me” expresses his desire to be remembered over some acoustics & live drumming.

I don’t wanna sound like a hater at all because to this day, I still enjoy all of those past KMK albums I mentioned at the top of the review. However, this is nothing more than solo D-Loc album being marketed as a new Kottonmouth Kings group effort to make a quick buck. It’s like if the Fugees continued with just Wyclef as the only member. Obviously that won’t ever happen, but you get the idea. Even though I genuinely appreciate the fact that Damn Dad brought back the rip hop sound Kingdom Come was lacking, the performances & songwriting are both subpar for a good portion of the hour. I really hope Loc makes things right with Richter & the rest of the fans down the road.

Score: 1.5/5

Eric Bobo & Stu Bangas – “Empires”

This is a brand new collab album between Eric Bobo & Stu Bangas. The latter is one of the underground’s most in-demand producers hauling from Boston, Massachusetts & the other notably being the percussionist for South Gate titans Cypress Hill. Despite being on different coasts, both parties developed a close friendship off similar interests & are joining forces for 4/20 to drop Empires.

The title track by Vangarde is a baneful opener about painting pictures with Mr. Lif’s mind, but then the next song “Chemtrails” by RJ Payne, Vinnie Paz & Xzibit wastes no time jumping on that boom bap as the trio start shit-talking. “Get With This One” incorporates some percussion & a Godzilla-like horn section as B-Real & Pharoahe Monch get together for a homage to the classic Black Sheep joint “The Choice is Yours”, but then “Total Kaos” by Psycho Les is a spooky recap of 2020.

The song “Move Weight” by Khujo, Lonnie Lyle & The Wordsmith is a downcast look into being street-smart while “Red Dot” incorporates some chilly keyboards as Rob Markman details how every rhyme he writes is 25 to life. The song “No Survivors” by Nowaah the Flood and Watson & Holmes is a cold-blooded depiction of the streets, but then “Pass the Fire” by Demrick is a classy weed-smoking anthem. Meanwhile on “Call It Like I See It, we have Reverie hopping on a weary albeit funky instrumental to insult her competition & then we have Lord Goat teaming up with Krazy Race for the horrorcore-themed “Dark Mind”.

The song “City of Angels” by Blu & Rakaa is g-funk homage to their hometown of LA, but then “Another One for the Books” by Apathy & Celph Titled is a disgusting look (in a good way) at the things they’ve done. The penultimate track “Street Smarts” by Ill Bill & O.C. is one of the most lethal cuts on the album as they talk about “hittin’ ’em at point blank range”, but then “The Reset” by Sick Jacken & Huero Diablo is a feel-good tune about living their lives to the fullest.

I know this album has been in the works for the past couple of years now, but man is the end result a wild ride. The list of guest MCs that got to hop on board is damn near-stellar & it’s really cool to hear both of Eric & Stu’s signature sounds mesh in with each other seamlessly.

Score: 3.5/5

Alla Xul Elu – “Necronomichron 2: Dead by Bong” review

Alla Xul Elu is an Ohio-based horrorcore trio consisting of Billy Obey, Joey Black & Lee Carver. Originally breaking out in 2015 as a duo, Billy & Joe started out by releasing their first 2 albums Head of Horns & Sci-Co that same year. This was followed up with their 4/20-themed debut EP Necronomichron in 2017 & adding Carver into the fold shortly after. But it wasn’t until Twiztid signed them to Majik Ninja Entertainment in 2018 when the Xul Boys’ music got increasingly better. Their MNE debut The Almighty is unquestionably the greatest horrorcore album of the 2010s, their 2019 sophomore EP Church of Xul took a much darker approach & the trio’s previous album Mauxuleum made it in the top 10 of my Best Releases of 2020 list despite them ditching their signature boom bap sound for a more industrial, trap metal direction. But to celebrate the 4 year anniversary of the original Necronomichron, it’s only right for A.X.E. to celebrate by dropping their 5th full-length album as a sequel.

After the “Taking a Trip” intro, the first song “An Ominous Shack” has an unhinged boom bap beat from BAD MiND (who produced all but 3 tracks on the whole album) as the trio detail a fucked up vacation & then “Down in the Dark” goes into a more industrial direction with lyrics about making plans with Mary Jane. The song “Deja Vu” is a grimy sequel to the title track of the first Necronomichron while “Fire It Up” dives into that trap metal sound provided by the Zombie Aristocrats & of course the lyrics are about lighting up the weed.

“Smoke” is a chaotic anthem about not wanting their high to be blown & then “Dead by Bong” feels more like an interlude as the lyrics are very repetitive despite the electronic-influenced production. The song “Alternate Dimension” is a dusty sequel to “Another Dimension” with a stellar Blaze Ya Dead Homie verse while “Within the Trees” is a gruesome horrorcore cut detailing forest monsters.

After the “Necronomicream” skit, the track “Munchiez” is a sinister depiction about how they handle being hungry when stoned while “Pass Away” contains some ominous organ harmonies as they talk about staying High & avoiding daylight. The album finishes off with “Kandarian Dabber”, where the A.X.E. deliver a wicked anthem to dabbin’.

Necronomichron is one of my favorite projects that Xul has ever put out, but this is a rare instance where I prefer the sequel over the predecessor. It’s great to hear the trio returning to the very sound that they become known for & the marijuana-themed lyrics have evolved tremendously, teasing a potential trilogy chapter at some point down the road.

Score: 4.5/5

King Relik – “DEMENT3D” review

King Relik is a 38 year old MC from Long Beach, California emerging on Valentine’s Day 2017 off his debut EP 12:45 produced entirely by Klepto K. However, he ended up signing to Wisconsin-based underground label Force 5 Records last February & is finally delivering his full-length debut just in time for 4/20.

The opener “Vilynz” connects with Skribbal & Radek to declare themselves as bad guys on top of an organ-laced beat whereas the next song “Sl33p” goes into a more electronic direction as Relik talks about being an insomniac. “Syko” reads as a 1-minute bipolar episode on wax as the overall sound of it keeps jumping all over the place, but then “Yogurl (Rollyaeyez)” goes into detail about this hoe over a minimal instrumental.

The song “Nayzay” dives into a more glitchy, industrial-sounding as he spits that wicked shit while “Grynd” is a chaotic punk rock anthem that I’m sure will get the pits going. The song “P.O.S. (Piece Of Shit)” talks about working on himself over an organ & some hi-hats, but then “Read the Note” is a spectrally-produced storytelling joint about Relik pulling off a robbery.

The track “Spacevan” dives into a more piano-boom bap direction with lyrics about hotboxing whereas “Pimpin’” is a more ill-lit vibe in the production as Relik & Lima Beans paint themselves as actual pimps. The penultimate song “Rabidbaboon” incorporates some synth-horns with lyrics about how wild dude is & then the album ends with “Handles”, which feels like a 1-minute homage to bands like Green Day & blink-182.

Been curious to hear how King Relik would sound on his own & I think DEMENT3D is actually a pretty solid album. It’s cool to hear the wide rage of sounds that the producers bring to the table & the guy has never sounded better lyrically.

Score: 3.5/5

Khrysis – “The Hour of Khrysis” review

Khrysis is a 39 year old producer & occasional MC from Durham, North Carolina coming up 1/2 of the duo The Away Team alongside Sean Boog. He’s also a key member of Jamla Records’ in-house production team The Soul Council, lacing a chockfull of albums for the label up to this point. But with 4 solo albums under his belt already, Khrysis is celebrating 4/20 by dropping a 5th one.

The opener “Never Change” is actually Khrysis himself spitting about always staying true over some bongos & a guitar, but then the next song “Granted” by Mumu Fresh is literally her expressing hope that she doesn’t get taken for granted over a funky instrumental with some popping drums. The song “Delta9” by Geechi Suede is of course about getting stoned & the instrumental has a trippier edge to it, but then “Mr. Big Mouth II” by De La Soul goes into a boom bap direction as the trio deliver a sequel to “Big Mouth” off their 2009 mixtape Are You In?.

The Away Team reunite like they haven’t stopped working together on the keyboard-laced “The Return” & then “Why?” by Jason Martin is about being clueless towards the haters he has on top of a soul sample & some militant drums. The song “Asylum” by Evidence is more synth-induced as he spits about being an original gentleman, but then “Colombian Necktie” returns to the boom bap sound as Niko Is delivers one of the more underwhelming performances on the album.

“The Code” by Chi-Ali is a jazzier cut that’s about him being happy to be released from prison after murdering his ex-girlfriend’s brother while “The Devil Wears Designer” by Reuben Vincent is about a deceitful woman over a horn-inflicted beat. “Negro Spiritual” finds Khrysis joining Busta Rhymes & Pharoahe Monch has a crooning vocal sample in the back as the trio spit that Black Power shit, but then “The Disrespect” by Rapsody & Sa-Roc goes into that College Dropout sound as the 2 go in about being disrespected.

The penultimate track “Keep on Walkin’” by Del the Funky Homosapien is a piano-boom bap banger about how nobody owes you shit & then the album finishes off with “Be Alright”, which is Khrysis himself hopping on top of a soul-tinged Eric G. instrumental to spit about working too hard for earn loyalty.

In comparison to his previous solo efforts, I think this is Khrysis’ best one yet. There are only a couple guests I could’ve done without, but almost every one of them delivery fiery performances as the dude presents a well-tuned showcasing of what he’s capable of doing behind the boards with a dash of his MC skills every here & there.

Score: 4/5

Ilajide – “Code #200” review

Ilajide is a 30 year old MC/producer from Detroit, Michigan who blew up as part of [the Clear Soul Forces. He also has a total of 2 beat tapes, 3 albums & 6 EPs under his belt as a solo artist. But after much anticipation, Ilajide is dropping his 4th full-length outing just a little over a year since the group’s swan song Forceswithyou.

“Black Jesus” is an electronic-tinged opener as Ilajide goes in about that cheese & then the title track talks about robbing motherfuckers over a skittering instrumental. “Leave Wit It, Pt. 2” goes into a more J Dilla-influenced sound as he & Noveliss get together to rap about taking dude’s money & Benzos, but then “Hunnids” with Mic Phelps & L.A.Z. goes in about their wealth over a moody trap beat.

The instrumental on “Wait II” has a alien-like quality to it as Ilajide talks about how he has that bounce whereas “Know Money” recruits Belve for a insightful lesson on the paper & the drums on here just hit you in the chest. Meanwhile, the song “Wunsagin” goes into a more boom bappy direction with some swaggering lyricism & then the Clear Soul Forces make a surprising return on the Def D-produced “Arrival”.

The track “Boatload” starts off with a cool mid-tempo vibe, but then it amplifies during the last 2 minutes & the chopper flow doesn’t feel forced at all. “Real Quick, Pt. 2” is of course a sequel to “Do It Real Quick off #414971 that’s lot more jazz-flavored than the predecessor & then “Wait.” gets on his thug thizzle shit over a springy instrumental. And as far the closer goes, “Okay” is a charming way to go out as Ilajide jumps on a cloudy instrumental to spit about running it up.

Of all the solo albums I’ve heard from the cat up to this point, Code #200 has to be the best one yet. He’s definitely cemented himself amongst the greatest producers Detroit has ever seen & this is no exception, but let’s not forget how much his songwriting keeps leveling up.

Score: 4/5

Snoop Dogg – “From tha Streets 2 tha Suites” review

This is the 18th full-length album from Long Beach icon & WWE Hall of Famer Snoop Dogg. His 1993 debut Doggystyle is widely regarded as a west coast essential, but his output since has been hit or miss whether it be Tha Last Meal & Tha Blue Carpet Treatment almost reaching the same caliber of his debut or Da Game is to be Sold, Not to be Told & Bible of Love falling flat on their faces. Uncle Snoop’s previous outing I Wanna Thank Me came out a couple summers ago & that was a decent listen but after dropping a small handful of singles throughout last year, it’s only right for one of hip hop’s notorious tokers to take listeners From tha Streets 2 tha Suites on stoners’ favorite holiday.

“CEO” jumps on a hyphy beat from Rick Rock as he shows off his longevity in the rap fame while the next song “Roaches in My Ashtray” returns to his g-funk roots with lyrics about getting high of course. “Gang Signs” taps in Mozzy to reminisce on their life as Bloods & Crips respectively over a spacious, bass-heavy instrumental prior to “Talk Dat Shit to Me” responding to Eminem’s jab on “Zeus” as he goes back on the g-funk tip with the help of DJ Battlecat.

As for “Sittin’ on Blades”, we dive into boom bap territory is as Snoop is singing from beginning to end with heavy talk-box usage à la Roger Troutman while “Say It Witcha Booty” is an awkward attempt at making a strip club theme. Larry June appears on “Get Your Bread Up” for a Bay Area-influence money anthem & Tha Eastsidaz make an unexpected return on “Fetty in the Bag” to talk about being amplified over some synths & hand-claps.

“Look Around” produced by Nottz gets taken straight from Tha Blue Carpet Treatment Mixtape back in 2006 & it still sounds as gangsta as it did 15 years ago when the world had initially heard it for the very 1st time until the closer “Left My Weed” featuring Devin the Dude comes off as a more seductive cut that I find myself reluctant towards in terms of it finishing the celebratory 4/20 offering.

Regardless of some older cuts making it feel more like a mixtape due to their resurging presence, this has gotta be the best Snoop Dogg album I’ve heard since Coolaid. I like the fact that he didn’t overload it like he did on I Wanna Thank Me & how it primarily takes listeners back to the g-funk sounds that skyrocketed him from an up-&-comer signing with Tha Row to the entrepreneur he has become in light of his 50th birthday in 6 months.

Score: 3.5/5

Anybody Killa – “Smoke That Up” review

This is the 10th EP from Detroit veteran Anybody Killa. Coming up as a member of the Krazy Klan with his childhood friend Lavel, it wouldn’t be until 2000 when the Native Funk dropped his official solo debut Rain from the Sun. 2 years later, he made his big break in the underground when the Insane Clown Posse signed him to Psychopathic Records & released his sophomore album Hatchet Warrior to universal acclaim amongst the juggalos. This was followed up in 2004 with Dirty History & the debut EP Road Fools a year after, but ABK decided to form his own label Native World Inc. in 2006 & he even left Psychopathic temporarily so he could focus on building his own brand. His 2008 comeback Mudface ended up being a total mess on all fronts, but he would eventually team up with Brian Kuma in 2010 to make up for it with Medicine Bag. Then after a 9-year hiatus, ABK left Psychopathic to focus on Native World once again & put out a party-themed comeback album Tampon Juice to mixed responses. But as he’s currently prepping for A.B.K. (Always Bringing Knowledge) & supposedly Shapeshifter, Killa is celebrating 4/20 by putting out Smoke That Up produced entirely by DJ Hazey.

“Pre-Session” is a short, bass-heavy introduction warming up the listener for what’s to come where’s the next song “Smoking In Common” goes into a more g-funk direction sound-wise as ABK dedicates this to all the like-minded tokers out there. The title track is a synth-laced banger encouraging listeners to light one up & then “We Smoking” is a more groovy, melodic cut about wanting them to leave him be as he gets high.

I know this is just a 4/20-themed EP, but I actually come to enjoy it significantly more than Tampon Juice & has me looking forward to both A.B.K. (Always Bringing Knowledge) & Shapeshifter whenever either one of those actually come out. The production from Native World in-house producer DJ Hazey is sincerely amongst the best I’ve ever heard from him & the playful vibes that ABK traditionally delivers in his performances have improved.

Score: 3.5/5

Conway the Machine – “La Maquina” review

Conway the Machine is a 39 year old MC & entrepreneur from Buffalo, New York who blew up in late 2015 as part of the 3 OGs of Griselda Records alongside his brother Westside Gunn & their cousin Benny the Butcher. Ever since the trio have rose to prominence, they’ve had hip hop on lock by their constant work ethic balancing quality & quality as well as vividly detailing their lives in the streets on top of boom bap production kin to that of RZA & Havoc in their music. Con’s full-length debut From King to a God was my Album of the Year for 2020 & his sophomore effort with Big Ghost Ltd. that just came out a couple months ago If It Bleeds It Can Be Killed is a worthy sequel to No One Mourns the Wicked. But just when even thought we were getting the Shady Records-backed God Don’t Make Mistakes next, we’re getting another prelude album out of the woodwork.

“Bruiser Brody” named after the WWE Hall of Famer is a grimy opener from the boom bap production from JR Swiftz to the lyrics calling out those who pray on his downfall whereas the Bangladesh-produced “6:30 Tip Off” is a jazz-trap fusion speaking on his profit. The song “Blood Roses” is about how “I came to prove I came improved” with a spiritual beat from Cardiak, but then “Clarity” opens up on how he spares “no feelings when my pen is movin’” on top of a soulful trap instrumental from Don Cannon.

The track “KD” has a weepy trap instrumental from Murda Beatz with lyrics talks about those speaking on Conway’s legacy while “200 Pies” with 2 Chainz of course gets on that pusher shit & the bare loop that The Alchemist comes through with is hypnotic as fuck. “Sister Abigail” is a dusty boom bap tune named where The Machine recruits his new protégés Jae Skeese & 7xvethegenius for a homage to to former 3-time WWE world champion & 2-time WWE tag team champion Bray Wyatt’s signature move of the same name, but then Jae returns on the peppily-produced “Grace” to talk about how they don’t live in disguise to get their blessings.

The song “Scatterbrain” brings in J.I.D & Ludacris to get murderous on top of a frigid instrumental, but then Elcamino & Shots Almigh hop on Had to Hustle” to speak on what they had to do to get where they are now. The closer “S.E. Gang” serves as a response to those who said Conway was leaving Griselda earlier this year as he, Westside Gunn & Benny the Butcher spit that mafioso shit over a flute sample from Daringer.

Not what I was expecting from Conway, but still a dope album regardless. In comparison to him returning to a more grimier sound on If It Bleeds It Can Be Killed, I like how he continues to build off the the versatility that From King to a God brought. Whenever the time for God Don’t Make Mistakes comes, I’ll be more than ready to hear where he takes it.

Score: 4/5

YSL Records – “Slime Language II” review

This is the 2nd showcase compilation from Atlanta, Georgia record label YSL Records. Founded in 2010 by trap trailblazer Young Thug & having been distributed by 300 Entertainment since 2016, the label has built up quite a promising roster within the last 5 years. Their most notable acts being of course Gunna & Lil Keed. The crew’s first showcase compilation Slime Language came out in 2018 to mixed reviews & as the 3 year anniversary of that original project creeps up this summer, Thugger & the gang are taking another jab at it on Slime Language II.

“Slatty” is a great way to kick off the comp as Young Thug, Gunna, Yak Gotti & Lil Duke get together over a siren induced beat from Southside & Pvlace whereas “Ski” shows off the chemistry between Thugger & Gunna over a string-heavy instrumental from Wheezy & Outtatown. The duo’s dominance continues as they pair up with Travis Scott on “Diamonds Dancing” to show off their expensive lifestyles over a piano trap fusion from Turbo, but then Drake & Gunna get together for the spacious party anthem “Solid”.

Meanwhile on “Came & Saw”, we have Young Thug bringing Rowdy Rebel on for a short verse & a lengthy hook to speak on how “you can’t put dirt on someone that’s clean” on top of a Viking-esque instrumental. He later goes on to to trade bars charmingly back & forth with Gunna on the dystopian-sounding “Paid the Fine” that Cubeatz helped put together, but the Lil Baby verse at the beginning starts it off strong & YTB Trench’s finishes it off mediocrely.

“Proud of You” is clearly a remixed leftover from the Eternal Atake sessions Bugz Ronin handles that I actually enjoy, but then Thug & his brother Unfoonk hop on the country trap-flavored “Real” to talk about seeing their haters on the sideline. Karlae & Coi LeRay join forces for the cloudy R&B-tinged “I Like”, but then Lil Keed & T-Shyne manage to get Big Sean on the mystical-sounding “Warriors” to proclaim themselves as such.

“Pots & Pans” has a synth-heavy instrumental that I really enjoy & Lil Duke really shines on here, but ΠΔV comes in & delivers a flat robotic verse that throws the vibe off. The song “WokStar” goes into a more ominous direction as Strick & Skepta speak on their celebrity status, but then “Superstar” marks Young Thug’s return as he & Future talk about how everyone wants to be famous these days over an acoustic instrumental with some rubbery bass.

“Came Out” incorporates a xylophone in the production as Gunna & Keed vaunt but then YNW Melly, BSlime & FN DaDealer come together on “Really Be Slime”, which is easily the most generic song on the entire compilation. “Take It to Trial” was a fun choice for a lead single & I like it even more in the context of the album, but then “Trance” by Karlae & Yung Bleu is a super redundant sex tune even with Dez Wright behind the boards.

Sheck Wes, Yak Gotti & Yung Kayo deliver some underwhelming bars about drug/alcohol usage on top of a Taurus instrumental with a bit of a chopped & screwed influence to it during “G.F.U. (Get Fucked Up)”, but then the psychedelically-produced “Moon Man” finds Thugger & KiD CuDi getting together to compare life to a buffet. I prefer HiDoraah’s solo track “Como Te Llama” over the one she had on the first Slime Language as she melodically goes into detail about wanting to know more about her partner & the Dolly White solo cut “Reckless” is even better as she goes into a more grittier direction both lyrically & sonically for 92 seconds.

The penultimate track “That Go” by Meek Mill, T-Shyne & Young Thug is a hedonism ode with some prominent synthesizers & the album ends with a boring remix to “My City” by YTB Trench. The deluxe run makes up for it starting with “Slam the Door” by Young Thug & Gunna talking about the millions coming with a name while “Litty” by Young Thug & DaBaby proves to be less exciting even with the reference to WWE Hall of Famer, 6-time WWE world champion, WWE Intercontinental Champion, WWE United States Champion, WWE Tag Team Champion, WWE Hardcore Champion, IWGPヘビー級チャンピオン, the inaugural 6-time TNA World Champion, TNA X Division Champion & 2-time TNA World Tag Team Champion Kurt Angle.

“No Slime” by Young Thug, Don Toliver & BSlime warns that the trio might get too comfortable although they assure everything will be ok while “Mil in Vegas” by Young Thug & ΠΔV offers a glimpse of both artists’ respectively lavish lifestyles. “Explosion” by Gunna, FN da Dealer & Yak Gotti acknowledges that everyone in their city knows that’s exactly what they be dropping while “Yessirskii” by Thug’s daughter Mego talks about fashion. The final bonus track “Mack Truck” by Young Thug & Jim Jones unites the ByrdGang & YSL for a generational trap heater spittin’ that g shit.

I was hoping for Slime Language II to be a step up above the predecessor, but it’s just as mediocre. Despite the label’s roster growing & improving, there are a handful of songs that should’ve been left on the cutting room floor. If YSL ever decides to do a Slime Language III at some point down the road, I hope it’s more well-curated.

Score: 2.5/5