Saigon – “Pain, Peace & Prosperity” review

Saigon is a 43 year old MC from Brooklyn, New York who broke out in the early 2000s off his debut mixtape Da Yardfather. However, it wouldn’t be until 2011 when he would make his full-length debut by dropping The Greatest Story Never Told under Suburban Noize Records. The album would spawn a sequel to fulfill his contract with the Spade the following year & then a final installment on his own imprint Squid Ink Squad Records in 2014. He returned from a 6 year hiatus last summer by signing to Strange Music’s new subsidiary It Goes Up Entertainment & dropping the STREETRUNNER-produced EP 777: The Resurrection almost right after but here we are 7 months later with Saigon’s 4th full-length album.

After the DJ Kayslay intro, the first song “Head Blown (Vitabudz Theme)” talks about vibing until his head is gone over an instrumental that hawks back to 80s electro while the track “2 for $5” makes multiple comparisons to the titular deal over a bountiful beat. The song “My Gun” talks about being strapped at all times over a boom bap instrumental with some sirens while the track “Blessings” pays tribute to those murdered by the system from Mike Brown to Sandra Bland over a bereft beat.

The song “People Next Door” talks about the person living next to him getting laid down the night before over a cinematic instrumental while the following track is a pointless remix to “Mechanical Animals” off of The Greatest Story Never Told 3: The Troubled Times of Brian Carenard. “The D” with Jay Varcity is a gross, lovey dovey disco tune while the song “Warm Honey” is almost as painful to listen to except the production on this one is more silkier.

The track “U Do Understand That, Right?” With Axel Leon finds the 2 talking about partying all night over a jazz/trap infused beat while the song “We Don’t Need You” talks about cutting off punks in his life over a Satanic instrumental. The track “Same Ol’ Me” talks about how he hasn’t changed after all these years over an inspiriting beat while the song “U Don’t Know Me” is a catchy bop calling out those who think they know everything about him.

The track “Buss It Down” with Bam Vito is a terribly written strip club anthem backed by generic instrumental while “The Streets” talks about how it ain’t no joke in the hood over an organ-laced beat. The track “It Goes Up” with Rough finds the 2 talking about firing at their squad if they take food out their mouths over a boom bap instrumental with some choir vocals while the song “Deeper” with O.T. the Real sees the duo talking about how deep they are over an exultant beat. After the “Saigon Speaks” skit, “The Co-Op Cipher” teams up with Cassidy to get on the battle tip over a sullen instrumental. He also takes the time to announce 2 more albums coming later this year, one produced entirely by Buckwild & the other with Jahlil Beats.

Even though I prefer 777: The Resurrection, I still think this is a solid album. There are joints on here that felt out of place like the “Mechanical Animals” remix & that cringey disco joint, but Saigon can still rip up mics like it was nothing & the production is pretty tight for a good deal of it.

Score: 3.5/5

Rod Wave – “SoulFly” review

Rod Wave is a 22 year old rapper & singer/songwriter from St. Petersburg, Florida who broke out in 2019 off his debut album Ghetto Gospel. A sophomore effort Pray 4 Love came out last spring & it would land him a spot in the 2020 XXL Freshman Class few months later. But after working out some issues with Alamo Records

It all starts off with the title track, where Rod talks about balancing his ups & downs over some a cavernous trap beat. The next song “Gone ‘Till November” talks about not wanting to be alone over a twangy instrumental while the track “Wanna Blame Me” talks about a girl doing him wrong over a generic beat. The song “Don’t Forget” talks about coming straight from out the trenches over some acoustics & snares while the track “Tombstone” talks about thuggin’ until the end over a stripped back beat.

The song “All I Got” talks about finally living his dream over a cloudy piano instrumental while the track “Richer” with Polo G finds the 2 talking about their wealth over a summery beat. The song “Street Runner” talks about going higher over a cumbersome instrumental while the track “Pills & Billz” talks about how money can buy you drugs over a piano & some hi-hats. The song “How the Game Go” talks about playing the game the way it was taught to him over some more acoustic trap shit while the track “Shock da World” talks about how they ain’t seen nothing yet & the vocal sample on here is just gorgeous.

The song “What’s Love??” explains the meaning of love to a broken heart over the same BEAUTIFUL THUGGER GIRLS-inspired production we’ve heard a million times at this point while the track “O.M.D.B. (Over My Dead Body)” talks about how he knows this woman don’t love him over an intoxicating beat. The song “Invisible Scar” talks about how he can’t save this youngin’ at the party over a formulaic instrumental while the track “Calling Me” talks about numbing the pain over some more country trap production.

The song “Sneaky Links” talks about keeping relationships secret over a weighty instrumental while the track “Believe Me” talks about having a hard time trusting his baby over a glossy beat. The song “Moving On” talks about starting anew & then the closer “Changing” talks about his newfound maturity over a piano-laced trap instrumental.

Coming away from this album, it’s a just a mixed bag for me personally. It’s really cool to hear how personal he can get through his lyrics, but it’s just the production sounds the same for a good portion of it.

Score: 2.5/5

YBN Nahmir – “Visionland” review

YBN Nahmir is a 21 year old rapper from Birmingham, Alabama most notable for being the de facto leader of the now defunct YBN collective. We all know Cordae has proven to be the most successful member of the crew given how well The Lost Boy & it wasn’t until earlier this month that Almighty Jay dropped his painfully boring debut EP Battling My Spirit. However, Nahmir is the last one stepping to plate & is dropping his long-delayed debut album.

“Still (Family)” is actually a good way to kick off the album as Nahmir speaks on doing this rap shit for his family with a guitar & harmonious vocal harmonies backing him. However, the next song “Regardless” sounds like he’s vocally riffing for 2 minutes despite the tranquilizing trap beat whereas the rowdy “Politics” links up with DaBoii & G Herbo to take shots at people talking shit on the internet. The “Opp Stoppa” remix with 21 Savage is better than the original, even though it’s weird how Nahmir puts the OG version of it as the closer later on.

“Get It Crackin’” samples “Chaos” by TekraBeats as Nahmir goes on about nothing & then “Fast Car Music (Stain)” serves as a half-baked ode to Lamborghinis. The track “Prison” is pretty much a 2-minute, abrasive self-defense anthem & then “Lamb Truck” is an underwritten cut about wetting up those who cross him with an aquatic beat. The twangy, bass-heavy “Fast Car Ending” is another short & off-the-cuff freestyle that could’ve easily been left on the cutting room floor, but then “Wake Up” goes into a more orchestral direction as he talks about getting his dick sucked in the morning.

“Belgium” is a 2-minute diatribe about how Nahmir been “thuggin’ since a youngin’” over a skeletal piano instrumental while the cumbersomely-produced “Make a Wish” literally says in the hook that he’ll kill the children of his enemies. The electronic-tinged “Homework” opens up about the snakes in his life & even though the classy instrumental on “Streets” is ok, it once again sounds like a barely written song. The soul/trap fusion “WooWAM” goes on about wanting bitches at his mansion, but then “Soul Train” is even worse with it’s funk-influenced production & the gross lyrics about giving his girl everything.

The rubbery, Hitmaka-produced “2-Seater” with G-Eazy & Offset continues to go on about their love for luxury cars over a rubbery instrumental from Hitmaka while “Ca$hland” is a money anthem with a hyphy beat along as well as stellar features from E-40 & Too $hort. The final song on the album (excluding the original “Opp Stoppa” like I mentioned earlier) “Over Now” is a touching sequel to the opening cut.

I said it in my review for Battling My Spirit a few weeks ago & I’ll say it again right now: this is just another reminder that Cordae carried the whole YBN crew. I’ll even say this is even worse than the latest Almighty Jay EP. It didn’t need to be 20 tracks long, the songwriting is vapid, his performances don’t have any “oomph” to them & the production is uneventful.

Score: 1/5

Mick Swagger – “Magnifique” review

Basingstoke, Hampshire, England, United Kingdom emcee/producer Mick Swagger enlisting Farma G & Nicholas Craven from London & Montréal, Québéc, Canada respectively to produce his 2nd extended play. Someone who broke out at the beginning of 2019 off his debut EP Villianaire & the eponymous Swaggerahki EP that followed several months afterwards, so hearing that Farma & Craven were solely gonna handle separate halves of Magnifique’s beats as someone who’s been following each of them for a few years raised further expectations.

“Jesus in Adidas” begins with a bagpipe instrumental from Farma G aiming to make 90s rap heathens into believers whereas the title track mixes a flute with kicks & snares to talk about making magnificent music. “Bars for Life” featuring Micall Parknsun finds the pair desiring for it all while “Buss Fire” featuring Brotherman, Cosm, Doc Terror, George Bucks & Twizzy brings the sextet together for a decent posse cut over a sample-driven boom bap beat.

Kicking off the 2nd half of Magnifique, we have Nicholas Craven hooking up a guitar flip during “We’re Talking” advising those to shut the fuck up when he’s speaking while “Love for You” featuring CLBRKS & Micall Parknsun unites the trio to soulfully talk about the passion they have for the art form. “Right Moves” continues to demonstrate Craven’s ear for sampling explaining that he’s an average person taking steps to achieve his goals properly & “Donuts” ends the EP with a chipmunk soul outro dissing those who lack innovation.

If neither Villianaire or the self-titled Swaggerahki EP were able to generate any interest in Mick Swagger, I’m pretty adamant regarding Magnifique making people more aware of his music since there are some significant upgrades compared to his previous material. Farma G’s side of the production tends to lean towards the boom bap side of things as opposed to Nicholas Craven generally bringing a soulful flare to the table, playing yin & yang for less than a half hour to give Mick all the room he can to improve his penmanship.

Score: 4/5

Armand Hammer – “Haram” review

Armand Hammer is duo from New York City consisting of Billy Woods & Elucid. Forming together in 2013 off their only mixtape Half Measures & the debut album Race Music, the pair would go on to release an EP & 3 more full-lengths worth of abstract political hip hop. Their previous effort Shrines just came out this past summer & not even a year later, Billy & Elucid have tapped on The Alchemist for their 5th full-length album.

The album kicks off with “Sir Benni Miles”, where Armand Hammer gets cryptic over a grimy instrumental with a couple of vocal samples laced in. The next song “Roaches Don’t Fly” talks about how “you don’t have to be here if you don’t wanna” over a synth-heavy beat with some occasional guitar passages while the track “Black Sunlight” gives the listener profound motivation over a cheerful instrumental. The track “Indian Summer” references the Indiana Jones franchise owned by The Walt Disney Company subsidiary Lucasfilm over a mystical beat while the track Aubergine with Fielded finds the 3 talking about hysteria over an instrumental that starts off with a demented atmosphere, but then switches into something more forlorn.

The song “God’s Feet” talks about “blowing that horn fast” over a glistening boom bap beat while the track “Peppertree” talks about how “there’s something else out there” over a saxophone & a reversed loop. The song “Scaffolds” talks about always being late with the epiphanies & having excuses over a paranormal instrumental while the track “Falling Out the Sky” with Earl Sweatshirt sees the trio opening up about their demons over a lachrymose beat.

The song “Wishing Bad” with Curly Castro & Amani finds the 4 talking about how all their problems come from no compensation over a minimal, yet deranged instrumental while the track “Chicharonnes” with Quelle Chris sees the 3 talking about corrupt cops over a ghastly beat. “Squeegee” is another favorite of mine with it’s enraged verses, the ear-grabbing hook & repose production while the penultimate track “Robert Moses” talks about a new day over a jazz-laced instrumental. The album ends with “Stonefruit”, where the duo talk about having so much to undo over a celebratory beat.

This is hands down one of the best albums I’ve heard all year & I’ll even go as far to say that it’s Armand Hammer’s magnum opus. Couple of the features were a miss for me personally, but the gruesome imagery that Billy Woods & Elucid paint goes hand to hand with Uncle Al’s signature sound almost flawlessly.

Score: 4.5/5

Daniel Jordan – “Dark Night of the Soul” review

Daniel Jordan is a 36 year old MC/producer from Hayward, California who’s been around since his 2005 debut album The Twilight of Daniel Jordan. However, it wouldn’t be until 2011 when he dropped his sophomore album The Stranger under Reel Life Productions to very positive reception. This was followed up 5 years later with the Mad Insanity Records-backed Killed by Love & then ‘Till Death Do Us Part under Daniel’s own label Kill All Idols Records at the beginning of last year. But with the first quarter of 2021 drawing to a close in a couple weeks, Daniel is treating fans to his 5th full-length album.

After a 1-minute intro flipping Syl Johnson’s “Could I Be Falling in Love?”, the first song “I’m So Tired” talks about being the worst person he knows over a sample of the Fugazi joint of the same name whereas the next track “Don’t Worry” talks about how time flies by quickly over a caliginous beat. The song “Everywhere (Let Me Be the One)” tells this woman to stop playing around over a seductive instrumental while “The Death of Michael Corleone” details a spiritual fall from grace over an atmospheric trap beat.

The song “I Don’t Wanna Be Me Anymore” talks about crying inside over a cacophonous instrumental while the track “What Am I Going Through?” talks about his troubles always following him around over a dejecting beat. The song “Keep Thinking of Suicide” of course opens up about his suicidal thoughts over a harrowing instrumental while “The Downhearted” talks about feeling like he’s in a manic state over a beat sampling the late B.B. King’s rendition of “How Blue Can You Get?”.

After the “3 A.M.” instrumental interlude, the song “Jodi Aries” talks about needing this woman over a sample of the iconic Sade joint “Cherish the Day” & then the title track that finishes off the album talks about being fed up with himself over an instrumental flipping “Mary Jane’s Last Dance” by the late Tom Petty.

The Stranger has always been my personal favorite of Daniel’s, but I think this is a close second. He does a fantastic job of channeling all of his demons through the lyrics & the way he samples all those classic songs from Fugazi to Sade is very impressive.

Score: 4/5

DDG – “Die 4 Respect” review

DDG is a 23 year old from Pontiac, Michigan who originally broke out in 2015 as a YouTuber. However after being interested in music at a very young age, he put out his debut EP Take Me Serious in 2018 & ended up signing to Epic Records. His profile continued to grow from there in 2019 off the Sorry 4 the Hold Up EP & the full-length debut Valedictorian but after spending last year forming his own label Zooted Entertainment & dropping a boatload of singles (the most notable one being “Moonwalking in Calabasas” of course), the kid is dropping his debut mixtape with Quality Control Music in-house producer OG Parker behind the boards from start to finish.

The opener “Hood Melody” with YoungBoy Never Broke Again finds the 2 talking about their homie’s dying because they don’t know life outside the trap over a piano loop & some snares whereas the next song “Treat Me Right” talks about wanting a bitch who respects him over a spicy beat. The track “Rule #1” with Lil Yachty sees the 2 talking about moving out of the hood after getting rich over a plinky trap instrumental while the song “Impatient” motivates his girlfriend to stay focused & Coi LeRay responds from her perspective over a pillowy beat.

The track “Get What You Want” with PnB Rock finds the 2 getting raunchy over an ample instrumental while the song “Way You Talk” talks about the way his girl drives him crazy over a summery beat. The track “Hakuna Matata” with Tyla Yaweh sees the 2 talking about going from broke to having Gucci over a guitar-tinged trap instrumental while the song “Let ‘Em Go” with 2KBaby finds the 2 talking about bitches who get out of line with them over a sluggish beat.

The penultimate track “Money Long” with 42 Dugg sees the 2 talking about their bread stacking up over an instrumental that sounds like it was made for Sada Baby & then the closer “I Need Security” talks about needing more protection over an acoustic/trap beat. However the bonus cut is a remix to “Moonwalking in Calabasas” with Blueface, which is mediocre in comparison to the original.

Not what I was expecting from DDG, but it’s a pretty good listen. He somewhat overdid it on the features, but his songwriting has gotten better in the last couple year as did his performances & OG Parker hones in on a more improved sound than DDG’s previous efforts.

Score: 3/5

¡MAYDAY! – “Minute to Midnight” review

This is the 8th full-length album from Miami-based trio ¡MAYDAY!. Formed in 2003 by keyboardist/guitarist Plex Luthor & emcee Bernz, the duo released their self-titled debut in the fall of ‘06 before adding 4 more members into the fold: emcee/producer Wrekonize, bassist Gianni Ca$h, percussionist NonMS & drummer L.T. Hopkins in 2009. Together, they would begin to rock the underground off 2 EPs & their sophomore album Stuck on an Island. This would catch the attention of Kansas City veteran Tech N9ne, who signed the group to his independent powerhouse Strange Music in 2011. They would go on to cement themselves as a flagship act on the label’s roster off critically acclaimed projects like Take Me to Your Leader, Thrift Store Halos, Believers & Future Vintage. However since 2016, ¡MAYDAY! has been a 3-piece consisting of Wrek, Bernz & NonMS. Their first album as a trio Search Party was a decent sequel to Stuck on an Island & the heavily reggae-influenced South of 5th was slightly better, but it’s been a little over 2 years after the release of their previous EP The Thinnest Line II, the 3 are getting back together for Minute to Midnight.

After the “In Due Time” intro, the title track that truly kicks the album off talks their patience being tested as well as divine new moralities over some wavy synth-lines & live drumming from ¡MAYDAY! themselves whereas the next song “Make Noise” talks about how “them boys won’t let you live in peace” over a Carribean-flavored trap beat from MIKE SUMMERS a.k.a. 7. The track “See You Smile” motivates the listener to stay strong in the midst of the ongoing COVID-19 pandemic over some bass & acoustic guitars while the song “Hard to Leave” details relationship issues over a moody beat from Bernz with co-production from The Pushers.

The track “Words Get in the Way” picks up where the previous cut left off as Bernz & Wrekonize talk to their partners about trying to change over an instrumental kin to a 70’s blaxploitation film while the song “Golden Hour” talks about meeting their lovers in “that place where the night moves slow” over a funky beat. The track “Lost Cause” talks about the reason why women do them wrong over a cavernous trap instrumental & then UBI provides the album’s only guest verse on the song “All In” as he & ¡MAYDAY! talk about being fully committed over a cloudy beat from NonMS.

The track “Let You Tell It” talks about letting their loved ones speak their minds over a reggae-tinged instrumental while the song “Flatline” is a rap rock anthem about chasing death. The track “1 Eye Open” is a piano-boom bap ballad calling out the fact that everyone says they’re woke nowadays & then the song “Flowers” expresses their hope of being appreciated while they’re still here over an instrumental with some heavy jazz undertones.

The track “Empty” is a stripped-back, catchy look into depression while the song “Can’t Do That Anymore” talks about wandering down a windy road over a disco-flavored beat. The track “Get There” talks about how they’re not sure where they’re going over a pillowy instrumental while the closer “Foul Out” goes back & forth dismissing all the bullshit being said about them over some punk-like guitar riffs & drums. But then there’s the bonus cut “Hit’s Different”, where Bernz & Wrekonize talk about trying to break out of a cycle over a plaintive instrumental from Wyshmaster.

Even though their last couple projects have been just ok to me, I was very excited for this given how much I enjoyed Wrekonize & Bernz’ latest solo albums Pressure Point & Sorry for the Mess. At the end of the day, this is the best ¡MAYDAY! album I’ve heard since Future Vintage. The songwriting is some of their most captivating ever & the way the trio fuses together all the sounds they’ve ever dabbled with into 1 continues to show how unique they are.

Score: 4.5/5

Benny the Butcher – “The Plugs I Met II” review

Benny the Butcher is a 36 year old MC from Buffalo, New York who’s been making music since 2004. However, it wouldn’t be until 2016 where he alongside his cousins Westside Gunn & Conway the Machine would take the culture by storm off projects like Tana Talk 3 & The Plugs I Met. He just dropped his Hit-Boy produced sophomore album Burden of Proof this past fall & as the 2 year anniversary of The Plugs I Met approaches this summer, Benny is enlisting Harry Fraud for the sequel EP.

The EP kicks off with “When Tony Met Sosa”, where Benny talks about how the rap game saved him over a jazzy beat. The next song “Overall” with the late Chinx sees the 2 talking about winning over a grimy instrumental while the track “Plug Talk“ with 2 Chainz finds the pair talking about how they address drug shit in interviews over some harmonious background vocals hanging behind their verses. The song “Live by It” talks about living & dying by the gun over an uncanny instrumental while the track “Talkin’ Back” with Fat Joe sees the 2 responding to everything from dope money to the streets over a flute-tinged beat.

The song “No Instructions” talks about how there’s no rules to the drug game over a poignant boom bap instrumental while the track “Longevity” with French Montana & Jim Jones finds the trio talking about making sure their cash is the strongest over an alluring beat. The song “Survivor’s Remorse” with Rick Hyde sees the 2 talking about how they could’ve died or wound up in jail over a dirgelike instrumental & then the closer “Thanksgiving” tells the rap game to be grateful for him over a soul sample & an organ.

The Plugs I Met is a crown achievement in Benny’s catalog & this sequel is almost as enjoyable as the predecessor. In comparison to the mature & polished vibes that Burden of Proof gave off, he & Harry Fraud take things into much more darker territory as the dark production & the harsh realities The Butcher paints mesh well with one another.

Score: 4/5

Guapdad 4000 – “1176” review

Guapdad 400 is a 28 year old rapper & singer/songwriter from Oakland, California who caught my attention in 2019 as part of the supergroup Zoink Gang as well as his handful of features on the Dreamville Records showcase compilation Revenge of the Dreamers III. This was followed up with the mediocre full-length debut Dior Deposits but after much anticipation, Guapdad is tapping in !llmind for his sophomore album.

Things kick off with “How Many”, where Guapdad ponders the number of times he’s been called as well the amount of drugs & alcohol one did over a trap beat with some dreary guitar melodies. The next song “She Wanna” talks about sex over a skeletal instrumental while the track “10finity” talks about still living on 10 over some somber piano chords. The song “Big Shot” talks about being a baller over a cloudy trap beat while the track “Catching Bodies” talks about hitting licks over a more joyous instrumental.

The song “Chandler” talks about feeling cocky over some snares with some occasional piano & guitar passages while the track “Muhammad” talks about trapping over an inebriating beat. The song “Touch Dough” talks about getting money over some skittering hi-hats & glistening keyboards while the track “Downgrade” talks about going back being a dog over a dim beat.

The song “Uncle Ricky” goes into a more boom bap direction as Guapdad talks about how crazy his uncle was while the track “Gargoyles” talks about being a castle with soft walls over an enticing beat. The song “PlayStation” pays homage to Digital Underground’s “I Get Around” over a palatial instrumental while the penultimate track “Chicken Adobo” talks about a woman holding him down over a tropical beat. The album ends with “Stoop Kid”, where Guapdad gets reflective for 7-minutes over a buoyant instrumental.

I didn’t know what to expect from this album given that I wasn’t a huge fan of Guapdad’s previous material, but I gotta say: This is the best he’s ever sounded. His lyrics are a lot more personal than before whereas !llmind cooks up the most consistent batch of production Guapdad has ever hopped on top of.

Score: 3.5/5