ShittyBoyz – “4-Peat” review

The ShittyBoyz are a hip hop trio from Detroit, Michigan consisting of Babytron, Stanwill & TR Dee. Breaking out in 2019 off their debut mixtape 3-Peat after Lando Bando signed them to The Hip Hop Lab Records, the 21-year olds would begin to grow in popularity by opening for Danny Brown at his 6th Annual Bruiser Thanksgiving show as well as their No Jumper interview early last year. They dropped their full-length debut New Year, Same Scams pretty much right after that but as the 1 year anniversary of the album came & went over the weekend, the trio are reuniting for their 2nd mixtape.

The title track that starts things off talks about being the coldest group in Michigan over an electronic dance-flavored beat from Helluva whereas the next song “Boss Fight” references the current 2-time WWE Universal Champion Roman Reigns alongside soon-to-be inducted WWE Hall of Famer, former SMW Tag Team Champion, 3-time WWE world champion, 2-time WWE Intercontinental Champion, 12-time WWE tag team champion & WWE Hardcore Champion Kane over some cinematic string-sections laced in the instrumental.

“War Zone” talks about the Dog $hit Militia putting bounties out over a much darker beat while the song “Ryan García” talks about multiplying bitches over a classy instrumental. The track “3-Man Weave” finds the trio going back & forth using the same rhyme schemes for 2-minutes over a glossy beat from Jakesand while the song “Terry Crews” talks about being cocky over what sounds like an animé sample.

The song “Jeez Relax!” talks about their newfound lifestyles over an opulent beat while the song “Rat Trap” claps back at those who try to stop their shine over some foreboding bells. The track “Scam GPS” of course returns to their scamming roots over a leaden beat while the song “10:20 at the Lab” talks about being gifted now over a flute-tinged instrumental.

“Pick & Roll” finds the trio pondering about a number of different things over some snares firing off like rounds while the song “Jack Frost” talks about how there isn’t many like them over a Danny G instrumental with some icy synth melodies. The tape then rounds out with “Metta World Peace”, where the trio get materialistic over a boisterous beat.

Like the ShittyBoyz said at the very beginning of the tape: “We’re the coldest group in the state”. Their production continues to get better & the way they bounce off one another in their verses is still as unique as it was when they first broke out a couple years back.

Score: 3.5/5

Scum – “Dyin’ World Chroniclez: Grey Skiez” review

Scum is a 40 year old rapper from Denver, Colorado known for being the founder of the seminal horrorcore label Lyrikal Snuff Productionz. He’s gone on to release 11 albums on his own, the previous being the double-disc Out with the Old that came out this past summer. But just about 7 months later, the Gorefather is returning once more for his 12th full-length album.

After the intro, the title track that truly kicks the album off talks about Hell awaiting over a frightful instrumental whereas the next song “New Day” with Lex the Hex Master sees the 2 giving their take on the saying “out with the old, in with the new” over an oracular trap beat. The track “This Right Here” talks about repping LSP over a villainous boom bap beat while the song “When It Rains” by S.O.S. finds the 2 talking about spraying rounds over a bleak yet abrasive trap instrumental.

“Tha Hit” vividly details whacking someone over some weighty strings while the track “Body Parts” by M.M.M.F.D. talks about dismemberment over a slow, wintry beat. The song “Stress” talks about insanity over a deranged instrumental while the track “Look Around” by Lobotomy talks about the fall of an empire over a apocalyptic trap beat.

The song “Downfall” talks about how fucking with LSP will be the end of you over a nocturnal trap instrumental while the penultimate track “24” with Death+ finds the 2 talking about having fucked up thoughts 24/7 365 over an uncanny beat. The album finishes off with “Story’s End”, where Scum talks about how you’re going to meet your maker over a cinematic instrumental.

This is a pretty dope album & I’m looking forward to hearing how the other installments of the Dyin’ World Chroniclez turn out to be. The lyrics is as gruesome as it was on his debut 18 years ago & his production choices just keep getting rawer with each project he puts out.

Score: 3.5/5

Rome Streetz – “Death & the Magician” review

Rome Streetz is a 34 year old MC from New York who broke out in 2016 off his debut mixtape I Been Thru Mad Shit. This was followed up by a plethora of projects, most notably the Noise Kandy tetralogy & Headcrack. He just dropped a dope project with Farma G on his birthday a few months back called Kontraband but as we close out the 2nd month of 2021, Rome is dropping his 5th full-length album produced entirely by DJ Muggs.

After the “6 of Cups” intro, the first song “Prayers Over Packages” talks about never slacking off over an otherworldly beat whereas the next track “Ace of Swords” talks about getting pieces to the puzzle over a gully instrumental. “The Manuscript” talks about his mind being focused on the money over a glum beat while the song “High Explosive” compares himself to a bomb over some horns.

The track “Zig Zag Zig” with Knowledge the Pirate finds the 2 talking about putting bitches in their place over a violin-tinged beat while the song “Stone Cold Soul” talks about clapping shit over a macabre instrumental. “The Devil’s Chord” talks about how the nights where he had nothing we’re eating him up inside over some ghoulish keyboard melodies & the sound of winds gusting by while the track “Shooting at the Dance Hall” gets on some disrespectful shit lyrically on top of a native-flavored beat for lack of a better term.

The song “Wheel of Fortune” talks about moving in silence over a Bollywood style instrumental while the track “Horn & Halo” with Rigz sees the duo talking about being conflicted since birth over a guitar & some eerie background vocals. The closer “Fly Obnoxious” talks about going all out for his rep over an malevolent boom bap beat & then the bonus cut “Fuck You Know About Me?” talks about preferring fetti over fame over some jazzy horns.

I’ve always said that Headcrack is Rome’s magnum opus, but Death & the Magician is even better. The way he continues to put words together (especially multi-syllable rhyme patterns) is like no other & it’s really cool to hear Muggs providing a wide range of sounds for him.

Score: 4.5/5

Payroll Giovanni – “Another Day, Another Dollar” review

Payroll Giovanni is a 32 year old rapper from Detroit, Michigan who came up about a decade ago as a member of the Doughboyz Cashout collective. He’s also released a total of 8 solo albums, most notable being the Cardo-produced Big Bossin’ & Big Bossin’ 2. But just a month after the 3 year anniversary of the latter, the pair are reuniting for the 4th time to put out Payroll’s 9th full-length effort.

The album kicks off with “Previously”, where Payroll recaps everything that’s happened to him in the past 3 years over a West Coast-flavored beat. The next song “It’s Around” talks about making himself a boss over a nightly instrumental while the track “Eyez Closed” talks about counting money like it’s nothing over a beat with a more Bay Area influence to it. The song “Always Hustling” talks about never slowing down over a smooth instrumental while the track “Mob $hit” with Larry June sees the 2 talking about what they be on over a ritzy beat.

The song “Everyday” talks about grinding nonstop over a straight up g-funk instrumental while the track “Make It Look Easy” talks about going from rags to riches over a delicate beat. The song “Game Showed Me” talks about dudes being iffy to him over a keyboard-heavy instrumental while the penultimate track “Pay & Cardo” talks about giving the listeners what they want over an atmospheric beat. The closer “Forever Flow” then talks about how his grandma used to give him money to flip over a synth-heavy beat.

Payroll always puts out his best material whenever he hooks up with Cardo & this is a great follow-up to Big Bossin’ 2. I really dig how both parties took it back to the 90’s West Coast gangsta rap era from the overall sound of the album to the lyrics & for those who aren’t familiar with Payroll, it’s almost like you’d think he’s actually from Southern California.

Score: 4/5

Intrinzik – “Lasers & Poison” review

Intrinzik is a 43 year old rapper from Phoenix, Arizona most notable for being the founder of Underground Hustlin’. Aside from that, the dude has put out a total of 9 albums & 3 EPs through his own label Intrinz Ink Records since 2004. But for his 10th full-length effort, Intrinzik is getting it backed by none other than the Majik Ninja Entertainment sub-label Welcome to the Underground.

The album kicks off with the title track, where Intrinzik talks about commercial sponsors feasting on inhibitions over a rap metal beat. The next song “Dinosaurs” talks about devouring these other rappers over some heavy guitars while the track “Force Fed Famine” talks about watching the market collapse like skyscrapers over a dreary backdrop fused with some hard rock instrumentation. The song “Chemicals” talks about paying it forward genetically over a punky beat while the track “Lizard Tongues” talks about overdosing on power over some live drumming & chugging guitars.

The song “Heart of the Table” with Dienasty the Mexican Thuggalo sees the 2 talking about the 3rd world over an instrumental that almost has a bit of a nu metal influence to it while the track “Lied To” ponders what’s real & fantasy over a riot-inducing beat. The song “Amphetamine Suicide” talks about drug usage over some thick instrumentation while the track “Broadcast the Apocalypse” takes aim at television as a whole over some Hellish riffs.

The song “Losing My Mind” with Twiztid finds the trio talking about insanity over a robotic instrumental while the track “Built for This” talks about annihilating anything that comes after him over a chaotic beat. The song “Try to Stay Alive” with Skeptik sees the 2 talking about survival over some more punk rock flavored production while the track “End of the World” with McNastee finds the duo talking about living in the apocalypse over a hard rock instrumental.

The song “First World Problems” with Krypto Man sees the 2 talking about that very issue over a somewhat thrash-esque instrumental while the penultimate track “The Right to Vote” with Bisshop & Raw-D finds the trio talking about how they use music as their weapon & I love how the build-up in the production. The album finishes off with “Toy Gory 2”, which is a decent 8-minute Underground Hustlin’ posse cut.

If you wanna get into Intrinzik, I would recommend starting with this because I find it to be his best work to date. Not just because of how the sound of the album continuously bounces from metal & punk to straight up hip hop, but his songwriting on here in comparison to his previous material is a lot more conscious this time around.

Score: 3.5/5

Baby E & Ouija Macc – “We Never Forgot” review

This is the brand new collaborative mixtape from West Coast rappers Baby E & Ouija Macc. One is a Lil Wayne protege signed to the icon’s Republic Records imprint Young Money Entertainment & the other is an Insane Clown Posse protege signed to their independently-owned Psychopathic Records. I don’t think the duo have ever worked together in the past, so I was very curious to hear how they would play off one another on We Never Forgot.

The tape kicks off with “Bands Won’t Stop”, where Baby E & Ouija talk about how the money will always come in over a trap beat with some teary piano melodies. The next song “Like Yuh” talks about keeping the drama away from them over a woozy instrumental while the track “(I Don’t Like Life) Anymore” talks about suicide over a crazed beat from Devereaux. The song “Different Mindset” gets romantic over a more voluptuous, poppy instrumental while the track “For Good” interprets the title in a few clever ways on top of an orchestral beat.

The song “1 for Me” talks about women who don’t know what they want from them over an acoustic guitar backed by some snares while the track “Overnight” talks about how Rome wasn’t build in a day over a rubbery beat. The song “It Be Like That Sometimes” talks about life being a carnival over a cloudy trap instrumental while the penultimate track “Mitosis” talks about killing everything in site over a monstrous Devereaux beat. The tape finishes off with “Got Somebody”, where Baby E & Ouija talk about being there when their homies are down over an acoustic-tinged trap instrumental.

Out of all the collaborative projects Ouija has put out in the past few years, this is easily my favorite of the bunch. It’s understandably a lot more melodic in comparison to his previous material & I commend him for stepping out of his comfort zone on that, but he & Baby E also do a good job of playing off each other. If these guys plan on working together more down the road, then I’m all for it.

Score: 3.5/5

Curren$y – “Collection Agency” review

This is the 21st EP from New Orleans veteran Curren$y. Getting his start with No Limit Records in 2002, would then hop over to Young Money Entertainment & Cash Money Records in 2006 before branching out in 2008 with his own label Jet Life Recordings. He has made a name for himself by dropping a handful of projects every single year, the most recent being an EP trilogy with Harry Fraud that was released throughout the 2nd half of 2020. However 3 months later, we’re diving right into Collection Agency.

The EP starts out with “Kush Through the Sunroof”, where Spitta talks about being in an armored Mercedes over a bluesy trap beat from Trauma Tone. The next song “Smiled on Me” talks about his ancestors looking down on him from above over a glamorous instrumental from DJ Fresh while the track “Arrival” talks about pulling up stoned over a jazzy beat from Harry Fraud himself. The song “I Don’t Call” talks about the shit he has that never uses over a synth-laced trap instrumental from Purps while the track “Jermaine Dupri” boasts over a glossy beat.

The song “Closing Date” gets in his shit-talking bag over a smoked out instrumental while the track “Shout Out” with Larry June finds the 2 showing love to the real over a comatose beat. The song “Ferrari Engine” talks about leaving the block trembling over a stripped-back instrumental while the penultimate track “Above the Law” talks about how they don’t want a war over a soul sample provided by Rrsonist of The Heatmakerz. The EP finishes off with “Misty”, where Curren$y talks about how the Chevy’s on switches over a trap beat with some horns laced in.

It’s not one of my favorite projects Spitta has ever put out, but I do find Collection Agency to be an enjoyable EP for the most part. He still manages to do a good job at balancing quantity & quality as his flows are still silky smooth this deep into his career & his ear for production remains top notch.

Score: 3.5/5

Elcamino – “On the 3rd Day” review

This is the 10th EP from Buffalo emcee Elcamino. Blowing up in 2017 off his self-titled EP with Griselda Records, his profile increasingly grew after being followed up by Walking on Water mixtape in the summer of 2018 along with dropped 2 studio albums & a few EPs the year after that. But after dropping 3 EPs in 2020, he’s teaming up with German producer TrickyTrippz for On the 3rd Day.

“The Deal” that kicks the whole EP off talks about his boys catching their first bodies & filling his book-bags with Ben Franks over a sorrowful instrumental whereas the next track “40 Belows” talks about doing the most over a supernatural-sounding beat. The song “Extra Baggage” talks about keeping an automatic on him over an instrumental with a dope orchestral sample while the track “I’m the Blame” sings about losing all his money to the dope game over a dramatic beat.

The song “Door Steps” talks about making a killing off crack over a boom bap instrumental with some luxurious keyboard melodies while the track “Stainless Steel” reflects on his past & talks about where he is now over a glum beat. The song “Grimey” advises the listener to leading their life over a cinematic instrumental while the penultimate track “Paying Taxes” talks about rising from the bottom of the pit over a rich beat. The EP finishes off with “Still Remember”, where Elcamino talks about how you wouldn’t believe half the shit he’s done over a bare soul sample.

I wouldn’t be surprised if dude has a few more projects coming down the pipe later on in the year, but this is a solid way to kick it all off. TrickyTrippz comes correct behind the boards & his production is done justice with the help of Elcamino’s unfiltered street tales.

Score: 3.5/5

Vino La Mano – “Blood & Trust” review

This is the 10th EP from Texas emcee Vino La Mano. Breaking out a couple years ago after Benny the Butcher signed him to his E1 Music imprint Black Soprano Family Records, he’s been staying busy ever since by dropping a total of 9 EPs. But just a month after his previous one Circle of Trust, we’re already being treated to the follow-up Blood & Fire.

The EP starts out with “Live from the Krooked”, where Vino talks about trying not to get caught up in the game over a cavernous boom bap beat. The title track talks about going broke & starting back over a rock/boom bap fusion while the song “You Don’t Know What It’s Like” talks about having shit on his mind that he doesn’t show over an icy beat.

The track “Wolves Eat Sheep” flexes his mafioso lifestyle over an extravagant instrumental while the song “It’s Cut Throat” talks about how they gon’ acknowledge his pen over a morose boom bap beat. The penultimate track “YKTV” talks about his killers being on standby over a boom bap instrumental with a piano sample hanging in the background whereas then the closer “Gift & Curse” talks about what it took to get here over an incensed beat.

As much as I liked Circle of Trust, I think Blood & Fire is a step up from it. The Soul Monsters’ grimy production has improved quite a bit & you can really tell Vino was coming from the heart in his verses. If he’s got more EPs or even a full-length album in store for 2021, then I already know he’s gonna get better from hereon out.

Score: 3.5/5

Roughneck Jihad – “The Little Assassination Handbook” review

South Bay Area, Northern California emcee Roughneck Jihad making his Boot Records debut with his 2nd extended play. A member of the trio 3rd Sight, he would go on to drop 7 full-length studio LPs along with his previous EP Disco Sinistro in 2018 & the debut mixtape Red Herring that same year in over a decade. Brussels, Belgium producer Senz Beats has been enlisted to fully produce The Little Assassination Handbook & that didn’t wane any excitement I had for the fact an American artist would be joining Boot.

“Endearing” spends the opening 2 minutes talking about continuing to make the people cheer because it’s lovable for him whereas “Half Man Half Amazo” works in a lo-fi piano instrumental to boast that he can singlehandedly rip crews apart. “Smiling” wittingly talks about his refusal to pillage a village when muhfuckas are playing scrimmage just before “Catastrophe” dustily wraps up the 1st half cautions that going against him in a battle won’t end well for his opponents.

Meanwhile on “Cold Blood”, we have Jihad the Roughneck MC continuing the 2nd act of the EP hopping over a sample-driven boom bap beat talking about needing tons of cash for his impending domination of the rap game while “Ill Still Build” discusses the greats standing tall because of them painting masterpieces & maintaining longevity. The title track properly concludes The Little Assassination Handbook with a 114 second boom bap outro warning the unbroken chain can still snap back.

Over a decade since his debut E Pluribus Urine, the Disgruntled Sound Recordings founder comes off Micall Parknsun’s 2nd EP Back in Business a couple months earlier to drop the best thing he’s ever done by himself under the Manchester, England, United Kingdom indie label who once signed King Kashmere & Ramson Badbonez. The production Senz Beats cooks up is some of his most pleasant production & it’s refreshing for the west coast vet to diversify Boot Records’ roster.

Score: 4/5