Doc D – “Planetory Destruction” review

Doc D is a new pitch-voiced alter ego of Maryland rapper, singer/songwriter, producer & author Logic. The character was announced a little over a week ago & to celebrate Bobby’s 31st birthday this weekend, we’re already being treated to it’s debut mixtape.

After the intro, the title track with Big Lenbo sees the 2 talking about how they ain’t playing this year over a dust boom bap beat whereas the next song “Better Text Back” talks about having nuclear codes over an tranquil instrumental. The track “Green Juices” flexes his lyrical prowess over a hypnotic beat & after the first “Cosmos 105.7” skit, the “Double Sample” interlude heavily revolves around a sample of the classic Gil-Scott Heron joint “We Almost Lost Detroit”.

The song “Backstory” talks about doing this rap shit differently over an instrumental that I can’t help Joey Bada$$ rapping on top of on 1999 & after the second “Cosmos 105.7” skit, the track “Back to the Basement” with Silas, Tony Tone, Big Lenbo & Castro finds the quintent rapping about returning to their roots over a boom bap beat with a weepy loop. The song “Outer Space Gang” with J Mars & Like sees the 3 talking shit over a luxurious instrumental while the track “Butt Ass Naked” with Marc Rebillet & Black_Chocolate finds the trio talking about sex over a funky beat.

The song “Ready Player Gun” with Buddy & Like sees the 3 talking about smoking weed over a dreamy instrumental & after the third “Cosmos 105.7” skit, the track “20,000,000 Woolongs” is a solo Punch joint a introducing the listener to a bounty hunter over a jazzy beat. The penultimate song “Bounty Law” with Del the Funky Homosapien & Ghostface Killah finds the trio talking about being villains over an old school instrumental & after the final “Cosmos 105.7” skit, the closer “Death of Destruction” is a spoken word bit where the DJ tells the listener that the album is over.

From start to finish, it’s a decent tape. The features don’t really do much for me other then Del & Ghostface, but the sci-fi themed story is told well & the production on here is some of Logic’s best yet.

Score: 3/5

C-Lance – “The Demon of Hiroshima” review

C-Lance is a 33 year old producer from Boston, Massachusetts who broke out in 2010 after becoming an in-house producer for Vinnie Paz. He would go on to become one of the underground’s most prominent names for the likes of the Army of the Pharaohs, La Coka Nostra, Swollen Members, R.A. the Rugged Man & G-Mo Skee throughout the last decade. However, C-Lance has decided to drop a new album every month throughout 2021 & is kicking it off with a sequel to his previous instrumental album The Ghosts of Mt. Fuji.

Things kick off with the title track, which has these dusty boom bap drums & some horns that kinda remind me of the classic Pharoahe Monch joint “Simon Says” for some reason. The next instrumental “Duel Under Autumn Leaves” has a sound kin to that of Visions of Gandhi while “The Ghost of Yarikawa” gets back on the boom bap rip albeit with a more alluring loop attached to it. The “Bamboo Forest” instrumental has these string sections throughout that give it a cinematic feel to it while “The Hannya Mask” sounds like it was originally made for Chaly & the Filth Factory.

The “Curse of the Snow Woman” instrumental perfectly lives up to it’s name with it’s spooky vocal harmonies & icy keys whereas “Oni & Yurei” dives right back into that Vinnie/JMT sound. The “Haunting in Kawasaki” kinda reminds of me C-Lance’s first instrumental album House of 1,000 Beats with its horror movie quality while “Shrine of Kobe” stands out as the most uptempo beat on the entire project without question.

“Spirits of Inunaki Tunnel” is laced with a heavenly vocal loop throughout while the penultimate beat “Shadow of the Samurai” is the complete opposite as the crooning samples sound evil & the trumpet is a nice touch as well. “Tears Falling in Tokyo” ends with a dusty flip fit for crying in the hometown of the current IWGPヘビー級チャンピオン in his 3rd reign & IWGPインターコンチネンタルチャンピオン in his 6th reign 内藤哲也.

This dude has been one of my favorite producers in recent memory & I can’t wait to hear everything else he has in store for the year. He does a good job at taking all these Japanese samples & putting his own grimy spin on them much like The Ghosts of Mt. Fuji providing a soundtrack to a trip out in the prefecture that made former CMLL Mundial Pesomedio Campeon, CMLL Mundial Parejas Campeon, オープン・ザ・ドリームゲートチャンピオン, 2-time NWA World Jr. Heavyweight Champion, 11-time IWGPジュニアヘビー級チャンピオン, IWGPジュニアタッグチャンピオン, GHCジュニアヘビー級チャンピオン, GHCジュニアヘビー級タッグチャンピオン & WWE Hall of Famer 獣神ライガー.

Score: 3.5/5

R.A.P. Ferreira – “Bob’s Son: R.A.P. Ferreira in the Garden Level Cafe of the Scallops Hotel” review

R.A.P. Ferreira is a 28 year old MC/producer from Kenosha, Wisconsin who’s been making music for a little over a decade now. However, I personally have had him on my radar since his 2015 sophomore effort So the Flies Don’t Come. His last album Purple Moonlight Pages that came out almost a year ago at this point was not only his most reflective work yet, but one of my favorites of 2020 too. Fast forward to New Year’s Day, we’re already being treated with a follow-up.

After the psychedelic boom bap “Battle Report” intro, the first song “The Cough Bomber’s Return” talks about being the last of a dying breed over a meditative boom bap beat referencing former ECW World Heavyweight Champion, 11-time WWE Tag Team Champion, WWE United States Champion, WWE Cruiserweight Champion, WWE Hardcore Champion, 2-time ΩCW Heavyweight Champion, 2-time ΩCW Tag Team Champion, 2-time TNA World Champion, 2-time TNA World Tag Team Champion, HoG Tag Team Champion, ROH World Tag Team Champion & The Crash Mundial Parejas Campeon Matt Hardy whereas the next track “Yamships, Flaxseed” with s.al sees the 2 talking about “pain coming in dreams” over a soulful instrumental with a piano-transition during the 2nd half.

“Diogenes on the Auction Block” talks about riding on when he was alone over a minimalist beat while the track “Redguard Snipers” with SB the Moor finds the 2 talking about people complaining about new verbs & sounds over an instrumental that starts with a upbeat vibe, but then transitions into something more deadpan in it’s final moments.

The song “Sips of Ripple Wine (No Stemware)” talks about having to level up over a funky beat with an acoustic switch-up while the track “Skrenth” talks about what it is to be a poet over an instrumental with some keys & bass guitar. The song “Bobby Digital’s Little Wings” talks about his father having a panic attack 2 weeks after he was born over a piano-inflicted boom bap beat while the track “Listening” talks about how he’s doing good in the end over jazzy instrumental.

“High Rise in Newark” talks about spirits clinging to theoretical lives over an abstract beat while the penultimate track “Rejoice” speaks for itself lyrically over a wavy instrumental. The album finishes off with “Abomunist Manifesto”, where R.A.P. Ferreira tackles abomunism as a whole over a bass guitar & an acoustic guitar.

Even though I didn’t think we’d get another album from him this quickly, I really enjoy it for what it is. I think it serves as a fantastic tribute to Bob Kaufman as his cryptic lyricism is always captivating & jazz-flavored production is once again well incorporated.

Score: 4/5

Lando Bando – “New Era” review

Lando Bando is a 25 year old record executive from Detroit, Michigan notable for founding The Hip Hop Lab Records & signing/managing some the biggest group in Detroit trap today the ShittyBoyz both as a trio & individually as solo acts. He also has a few solo LPs under his belt already with Don’t Let Your Bitch Hear This alongside The Hip Hop Lab & more recently I Knew This Would Happen merely 9 months ago, kicking off a New Era to end what has been an unkind 2020 to many of us.

The intro by Babytron & Icewear Vezzo pairs the 2 over a Detroit trap instrumental with some bells telling lames with no job to get a life whereas “Odd Ball” by Rio da Yung O.G. talks about not needing to show his money to prove it since he’s at a certain level of notoriety. “NBA Jam” by Babytron & GT finds both of them flexing the W streak they’ve been on lately while “Movie” by Stanwill & Talibando blends Detroit trap & jazz talking about leveling up in life.

Glockboyz Teejaee swaps out the jazzier elements in favor of Mobb music during “Him Not Them” boasting that he still be on the block instead of frontin’ over it just before “Go Inside” by Rack flips a chipmunk soul sample with some 808s thanking God for dodgin’ incarceration. “Glitch” by Babytron & Big Money Rich produced by Danny G delves into the world of crime for a few minutes leading into “Raw” by 6040 talking about how different that crew is compared to yours.

The title track by ShittyBoyz, the late Blade Icewood’s son Lil Blade & Cam Dinero unites the quintet for an 150 second collaboration representing the current generation of Detroit hip hop & after “Rocket Type” by Prince Jefe mixes some bells & rubbery bass rapping from a gangster’s perspective, “Wrong Type” by 6040 Kev Kash finds himself feeling like something’s off if he got too much time

It makes sense for the ShittyBoyz getting their own song with “RJ Always Trippin’” referencing 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

“Serious All Caps” by Babytron references 14-time WWE world champion, WWE Hall of Famer, 5-time WWE Intercontinental Champion, 3-time WWE tag team champion & current WWE COO Triple H until the outro by Prince Jefe & TillyHome ends the beginning of this new chapter with an average collaboration where I personally find Jefe’s verse to be more than Tilly’s.

In case you may not be familiar with Lando’s discography, the 4 albums he has so far including this newest one are basically their own collections of Detroit trap curations & when you take in consideration of The Hip Hop Lab’s rise in popularity this past year or 2, the most recent batch we have surpasses all 3 of it’s predecessors because it very much feels like his label will achieve wider success this decade.

Score: 3.5/5

XP the Marxman – “Make the Devil Pray” review

XP the Marxman is an MC from Los Angeles, California who came up as 1/3 of the trio Rhyme Addicts. As far as his solo career goes, the dude has a few projects under his belt already (most notably the Roc Marciano-produced Keep Firing EP that came out just this past spring). This was followed up 3 months later with Sincere Leader 2 but to cap it off, we’re being treated to another full-length effort before the year is out.

The opener “Double Bubble” talks about hustling’ over a psychedelic instrumental whereas the next song “Wave ‘Til the Grave” talks about switching his lifestyle because he needed much more over a soulful beat. After the titular skit, the track “Losses” talks about how he ain’t taking any over a laidback instrumental while the song “Zooted Shooters” talks defeating the king so he could wear the crown over a boom bap beat with some vocal harmonizing in the background.

“The Conduit” talks about those faking over a cinematic instrumental while the track “True Lies” with MALCOLMSEF sees the 2 trading back & forth with each other nonchalantly over a weepy beat. The song “Suenos” talks about living in a dream over a glistening boom bap instrumental while the penultimate track “Mi Clasa” talks about those who aren’t even on the same level as him over an unhinged beat. The closer “Still Laughin’” then gets on his gangsta shit over a drumless, symphonic instrumental from Roc Marciano.

Overall, this is a good follow-up to Sincere Leader 2. XP continues to reveal himself as one of the most hard working & consistent dudes in the west coast currently as his lyricism remains unmatched & the production choices are well picked out.

Score: 3.5/5

Playboi Carti – “Whole Lotta Red” review

This is the highly anticipated sophomore album from Atlanta, Georgia rapper, singer/songwriter & model Playboi Carti. Coming up as an affiliate of the A$AP Mob, he would break out in 2017 off his eponymous 4th mixtape under Interscope Records after his previous 3 coming out independently under his original Sir Cartier moniker & in 2018 with one of the greatest trap albums of the previous decade: Die Lit. After countless leaks & rumors, Carti is finishing off what has been a shitty year for most by releasing Whole Lotta Red.

The album kicks off with “Rockstar Made”, where Carti talks about how it’s never enough over a trap metal beat from F1LTHY of Working on Dying. The next song “Go2DaMoon” with Kanye West sees the 2 talking over a Wheezy & Outtatown instrumental some prominently dramatic string sections while the track “Stop Breathing” talks about hoes going crazy when he takes his shirt off over a distorted beat. The song “Beno!” talks about over an instrumental with some video game-like synthesizers while the track “JumpOutTheHouse” is a cacophonous moshpit starter down to the Richie Souf beat.

The song “M3tamorphosis” with KiD CuDi finds the 2 talking about how can’t nobody tell you shit over a trippy instrumental with CuDi’s trademark humming being incorporated during the hook while the track “Slay3r” talks about how everything’s good & I almost wanna say the beat kinda has an 80’s new wave feel to it. The song “No Sl33p” talks about dreaming about murder over a synth-heavy instrumental while the track “New Talk” talks about being posted with his brother over a droney beat.

The song “Teen X” with Future sees the 2 talking about being on drugs over a manic instrumental from Maaly Raw while the track “Meh” talks about fucking a bitch up over some keyboards & heavy bass. The song “Vamp Anthem” perfectly lives up to it’s name down to the organ-laced instrumental while the track “New N3on” talks about having swag for days over a more uptempo beat.

The song “Control” talks about this woman driving him insane over an instrumental kin to LUV is Rage or even Lil Uzi Vert vs. the World while the track “Punk Monk” name-drops everyone from Trippie Redd to Lil Tjay over a beat with some synths buried in the bass. The song “On That Time” talks about ridin’ around with a draco over a noisy instrumental while the track “King Vamp” talks about being a dark knight over a frenetic beat.

The song “Place” talks about over a cloudy instrumental from none other than Pi’erre Bourne while the track “Sky” is an intoxicating weed smoking anthem. The song “Over” talks about how “this love don’t feel how it felt when we started” over some infectious synth-melodies referencing 3-time WWE world champion, 5-time WWE Intercontinental Champion, WWE United States Champion, 9-time WWE tag team champion, 3-time WWE Hardcore Champion, 3-time TNA World Champion, 2-time TNA World Tag Team Champion, ROH World Tag Team Champion, HOG Tag Team Champion, ΩCW Heavyweight Champion, ΩCW New Frontiers Champion, 2-time ΩCW Tag Team Champion & The Crash Mundial Parejas Campeon Jeff Hardy while the track “ILoveUIHateU” talks about how “what you don’t know won’t hurt” over a Pi’erre beat that gives me self-titled vibes.

The song “Die4Guy” talks about loyalty over a chaotic instrumental while the penultimate track “Not PLaying” talks about how he ain’t playing games no more over a futuristic beat. The album ends with “F33l Lik3 Dyin’”, where Carti talks about his current well-being over an OPM BABI instrumental sampling “iMi” by Bon Iver & the multiple background vocalists throughout (including Justin Vernon himself) are all breathtaking.

Even though it’s not as fantastic as self-titled or Die Lit, this album was still very much worth the 859 day wait because it’s really the start of a whole new wave. Some filler cuts are thrown in here & there, but I do appreciate him experimenting a more in comparison to his previous work & has since birthed a whole brand new subgenre in trap called rage or hypertrap.

Score: 4/5

Cody Manson – “Psychoactive” review

Cody Manson is a 30 year old rapper from Cleveland, Ohio who’s been on my radar for a couple of years now. He recently signed with Lyrikal Snuff Productionz & in light of that, we’re being treated to the man’s full-length album.

The title track that kicks the album off speaks on his meaning of such over a trap metal beat whereas the next song “S.T.F.U. (Shut The Fuck Up)” takes aim at his competition over a trap instrumental with some chimes. The track “Bounce” with Bobby Krea sees the 2 getting raunchy over a rubbery beat while the song “Lucy” with Shadow & Ether finds the trio talking about losing their minds over a comatose instrumental.

The track “W.T.F. (What The Fuck?)” with The Fallen Angel & The Irishman sees the 3 talking shit over a bassy beat while the song “Slidin’” tells those to quit speaking on his name over an monstrous instrumental. The track “Tunnel Vision” talks about holding it down for his daughter on the way over a dingy beat while the song “Fast Life” talks about everyone that’s starving to make it over a nocturnal instrumental.

The track “Better Way” with Famz finds the 2 talking about their imperfections over a trap beat with some keys & heavy guitars while the song “Already Dead” gets murderous over a paranormal instrumental. The track “Kool-Aid” with M.M.M.F.D. sees the trio talking about how it ain’t safe referencing the late WWE Hall of Famer, former 6-time WWE world champion & WWE Intercontinental Champion Randy Savage over a symphonic beat while the song “Suicide Hotline” with G-Mo Skee finds the 2 talking about making rappers want to kill themselves over a thunderous instrumental & it’s rad as fuck that G shouted me out in the opening line.

The track “Step Back” with At-L@tto & the Seed of 6ix is a moshpit starter with a beat fittingly kin to Three 6 Mafia while the song “Spiral Down” with Razakel & Damien Quinn finds the 3 talking about watching one fall over a devilish instrumental. The album ends with “Lessons”, where Cody talks about those who said he’ll never make it over a tense beat.

I’m really happy to watch dude’s evolution because this album is living proof of Cody being a good fit for LSP. Even though the features can be hit or miss at times, his undeniably has a lot of energy & you can really tell he put a lot of heart into it.

Score: 3.5/5

38 Spesh – “Interstate 38” review

38 Spesh is a 35 year old MC/producer from Rochester, New York known for being the leader of the Trust Army. He’s been steadily busy throughout the last few years whether it be him producing projects for the likes of Planet Asia & Elcamino or his own solo output. But to cap off 2020, Spesh is back with his 4th full-length album.

The opener “I-38” talks about how he’s just getting started over a nightly instrumental from STREETRUNNER whereas the next song “Interstate” with Che Noir finds the 2 talking about getting rich off the road together over a somewhat funky beat from Spesh himself. The track “Toll Booth” with Ransom sees the 2 talking about never switching up on the gang over an instrumental kin to Wu-Tang Forever-era RZA while the song “Stash Box” with Benny the Butcher finds the 2 on their drug dealing shit over a grand beat.

The track “Road Back” talks about treating this woman like she’s one of his over a lush instrumental while the song “Route 38” talks about how you ain’t man if you ain’t taking care of your family over a jazzy beat from Buckwild. The track “Investment Pieces” talks about not rocking ice over a luxurious instrumental provided by The Heatmakerz while the song “Money Calling” talks about wealth over a demonic beat.

“The Mule” with Dini is a lust tune with a decent instrumental & a horrendous execution while the penultimate track “Under the Table” talks about having a metaphoric relationship with his kitchen table over a drumless horn loop. The album ends with “Made It Home”, where Spesh talks about being blessed now over a soulful beat.

Even though I think A Bullet for a Heathen is his best work, this is still a dope follow-up. I like how he brought in more outside producers into the fold so he can remind listeners of his skills as a spitter too.

Score: 3.5/5

Flawless2k – “Blackout” review

Flawless2k is an MC from Atlanta, Georgia who has been making music ever since getting out of the U.S. Army in 2017. He’s dropped a handful of singles since then, but it’s all been leading right up to his debut EP over here. The EP kicks off with “Hundun”, where Flawless2k talks about running up them checks over an airy trap instrumental.

The next song “Mind Set” talks about living in the fast life over a nondescript beat whereas the track “Ole School” talks about his whip over a lavish beat. The song “Blackout” is an andreline pumping moshpit starter from the Three 6 Mafia inspired production to the feature from former No Limit Records signee Fiend while the track “Drip” talks about the shit he be rocking over a rubbery beat from CashMoneyAP.

“Sauce” with Yung Ralph sees the 2 talking about chasing paper over an atmospheric instrumental while the track “Vibe” with Hil-Figer talks about kicking it with their ladies over a more smoother beat. The song “Address the Issue” with Yung Tookie Baby finds the 2 talking about testing their tempers over a spooky instrumental & then the closer “Gas Up” with Duddy Ken & Pastor Troy sees the trio talking about Challengers & Box Chevy over a beat that gives off that classic dirty south vibe.

Coming away from this EP, my thoughts on it are mixed. I dig the sound, but there are a handful of features slapped onto it who punch under their weight. I understand it too Blackout is the only project under Flawless2k’s belt so far & the first one doesn’t always hit. He definitely has room to evolve his artistic craft down the road & I wish him nothing but the best.

Score: 2.5/5

Flee Lord – “In the Name of Prodigy” review

Flee Lord is a 37 year old emcee from Queens, New York who came up under the wing of the late Prodigy of Mobb Deep. However in 2020 alone, he would reveal himself as one of the most consistent dudes in the underground by dropping a new project every month for the whole year. And to finish it off, Flee is enlisting Havoc to produce his 14th EP.

After the intro, the first song “Torch Carriers” with Ransom finds the 2 talking about keeping this grimy East Coast shit alive over an organ-inflicted boom bap instrumental whereas the next track “Infamous Bop” with Big Twins sees the 2 talking about being the hottest in the hood over an uncanny beat. The song “Major Distribution” with Busta Rhymes finds the 2 talking about moving coke over an instrumental with an alluring vocal sample while the track “All for the GOAT” with Conway the Machine sees the 2 shit-talking over some glorious horns.

The song “1 A.M. Music” perfectly lives up to it’s title as Flee talks about what goes down after hours over a dismal beat while the track “Wu-Lords” with Raekwon finds the 2 on the gangsta tip over an instrumental. The song “Raise the Bar” with Santana Fox sees the 2 talking about how they changed the standards over some plinky keys while the penultimate track “Mac in the Engine” with Billy V & Eto finds the trio talking about being bosses over a solemn beat. The EP ends with “Bound to Take Losses”, where Havoc himself joins Flee Lord to talk about life being a gamble over a pessimistic beat.

This has unquestionably been Flee’s most prolific year yet & what a way for him to cap it all off. I could’ve done without a couple of the features, but everyone else kills it on the mid & Havoc’s production is still top-notch almost 26 years later. Curious to hear where he & DJ Muggs take it on Rammellzee in 2021.

Score: 4/5