Remy Ma – “Alimony” review

Remy Ma is a 46 year old rapper from The Bronx, New York City who Big Pun brought into the Terror Squad some time before his death. Her full-length debut there’s something about remy: based on a true storycame out 2 decades earlier to positive reception following her debut mixtape Most Anticipated although BX Files, BlasRemy & I’m Around weren’t as great. Coming off her divorce from Papoose, she’s preluding a sophomore effort with a brand new extended play of material.

“Rem the Pen” actually wasn’t bad of an intro hopping over an apocalyptic boom bap instrumental from Ron Browz to talk about the possibility of her never speaking to Nicki Minaj again, but then “Cry in the Wraith” featuring Tink & produced by Hitmaka continues the enjoyability levels getting in their feelings a bit. “Who Raised You?” however reaches the halfway point with the exact moment where things begin to decline, wanting to know who raised these new bitches over a bland beat.

Kicking off the 2nd leg, “Why I Get Married?” gives us a response to Papoose’s “Jezebel” that just feels absolutely embarrassing both instrumentally & in terms of Remy’s own performances while “Altar” throws more shots at Pap’s way returning to the boom bap accusing him of dumbing herself down for the only purpose of building himself up. “W.Y.F.L.” spends the remaining minutes of this Alimony declaring herself to be a mogul over a generic trap beat.

Soon as Remy Ma & Papoose began trading disses towards each other, I joked that it’s Kendrick Lamar vs. Drake for people who enjoyed watching Love & Hip Hop because I personally was never a fan of that whole series of reality shows & Alimony pretty much prove my point outside the first couple tracks. It starts off hot until losing steam right when the halfway point because of some inconsistencies regarding the production that I hope are resolved when the next album arrives.

Score: 2/5

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Tinashe – “Popstar” review

Here we have the 5th studio LP from Lexington, Kentucky singer/songwriter, dancer & actress Tinashe. Breaking out over a decade ago off her first 3 mixtapes In Case We Die as well as Reverie & more specifically Black Water, her RCA Records-backed debut Aquarius was as well received as the latter although her debut EP Amethyst was moderately received & the 4th tape Nightride was seen as an improvement. She would later depart RCA following the sophomore effort Joyride going independent on both Songs for You & 333respectively to better reception again, coming off BB/Ang3l & Quantum Baby to sign with Atlantic Records for Popstar.

“Sunglasses” produced by Arca kicks things off singing about seeing straightforward tunnel vision whereas “Too Easy” blends ghettotech, pop rap & techno bass boasting that she makes this shit look simple. “Melatonin” could have a chance at becoming the best single of 2026 masterfully combining ghetto house, ghettotech, acid techno, electroclash, tech house & hip house singing about those sleeping on her prior to “Empty Stadium” sampling “Rebound” by Audrey Nuna describing the rush she gets when rehearsing.

We have Tinashe taking a more somber approach during “Flashbacks” apologizing to her partner for talking shit whenever she gets turned on while the 44 second “Overdramatic” feels underdeveloped because I really enjoy DJ Camper’s jazzy trap beat & the brief verse. “I’d Rather Be Alone” mixes elements of trap & alternative R&B depicting the unwillingness of continuing an unhappy relationship while “Crash Out” experiments with ratchet & hyphy retaining the PBR&B & pop rap textures losing her shit.

“Pillow Fight” begins the 2nd half showing a more playful side to herself singing about falling in love with someone instantly while “Nobody Wanna Dance Anymore” goes EDM to make some commentary regarding that specific scene that’s others have made equally well. “25/8” atmospherically finds herself going beyond the limits daily while & after the “The Show Must Go On” intermission, the title track brings us to the core advising against dating a Popstar.

The song “Brainrot” makes a bold comparison between her numbness towards insincere affection & the Internet culture phase popularized by Gen Z & Alpha that I found to be genuinely funny while “Cloud 9” warmly sings about being in paradise with basslines that keep hitting you in the chest. “Heavy Weight” spends the remaining minutes of the album stripping it back for an acoustic outro confessing she’s been carrying this baggage for some time.

Returning to a major label for the first time in almost a decade, Atlantic makes it up to everyone for the mediocre responses to Miley Cyrus’ own debut for the imprint Bass Persuades last weekend with what I’m sure many will consider Tinashe’s finest artistic statement for years to come. The alternative R&B, electronic dance music, post-dubstep, pop rap, alt-pop & UK bass production embodies her own definition of what makes a Popstar & she sounds more confident than she has previously.

Score: 4.5/5

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Protomartyr – “Hotel Usona” review

Protomartyr is an art/post-punk band from Detroit, Michigan consisting of guitarist Greg Ahee, drummer Alex Leonard, bassist Scott Davidson & frontman Joe Casey. Releasing their debut No Passion All Technique in 2012, the sophomore effort & Under Color of Official Right & The Agent Intellect under Sub Pop Records would turn more heads & Relatives in Descent has become their most celebrated material yet. Coming off both Ultimate Success Today & Formal Growth in the Desert though, the teasers for their 7th studio LP had me more excited than either of it’s predecessors.

“The Old Hotel” kicks things off with this post-punk intro likening the US to a hotel that’s been neglected for a long period of time whereas the lead single “Sounds We Cannot Hear” blends post-punk, noise rock & art rock to sing about tinnitus. “Converts” makes brutal critiques towards JD Vance & Peter Thiel respectively but once the 3rd & final single “Exalted Eagles” fuses art rock & post-punk to condemn the rise of fascism, “The Knife Dream” could go down amongst Protomartyr’s most haunting tracks.

Meanwhile on “Feed the Sewer”, we have Joe & company fusing noise rock as well as post-punk & post-hardcore for a warning regarding the dangers of AI just before “Lavender – Gospel” breaks down the AI database system used against Palestinians in accelerating the Gaza genocide. “3rd Country” winds down the last few moments of Hotel Usonadetailing the heartbreaking reality of families being separated via deportation & “Checking Out” sends off the album singing about America making him & many others disillusioned.

12 months from now will already be an entire decade since Relatives in Descent revealed Protomartyr’s artistic evolution beyond the Under Color of Official Right & The Agent Intellect eras, but Hotel Usona has now dethroned it to become the most powerful musical statement in their 2 decades of existence. The post-punk, art rock, goth rock, noise rock & post-rock production doesn’t lose it’s richness at any point during the 45 minutes & they conceptually make a disturbingly realistic comparison between the state of this country for almost 2 years & an abandoned hotel rotting from within.

Score: 4.5/5

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Madopelli – “The Unkindness” review

Yes, this is the brand new LP & 5th overall from California City horrorcore duo Madopelli. Consisting of M.A.D & Ant Dog, the pair have also gone on to drop a couple of mixtapes & EPs ever since forming in 2016. Their sophomore effort albeit Lyrikal Snuff Productionz debut No Bluffin’ proved itself to be Madopelli’s most refined work to date both lyrically & sonically to the point where they were instantly accepted within the Gorehop realm. The follow-up Stories from the Sanctum later resulted in both members making their LSP debut as solo artists with Sadistic Symphony & M.A.D (Me Against Death), coming off Suffer Not Dishonor to discuss The Unkindness.

After the titular intro, “Repeat It with Me” begins with an aggressive intro representing the squad leading into “Remember That” sends a message to the people acting like they don’t know. “Where We Dwell” featuring Ganjre the Great finds the trio describing this darkness creeping within themselves & after “Wicked Soundz” talks about giving 0 fucks, “Better Dayz” sends positivity towards anyone listening who’s going through something advising to keep their heads up.

“Ghost in Ceiling” gets the 2nd half going asking if everything will be alright in the end because M.A.D & Ant are each at a low point mentally just before “My Way Out” continues from there talking about how they feel like simultaneously dying & climbing further away until they’re undiscoverable. “Whut!” makes it clear that neither one of them have time for nonsense & the final song “Void” preceding the outro angrily concludes The Unkindness people’s hearts growing dark.

It’ll already be a couple years since Madopelli dropped Suffer Not Dishonor within the next few months & in preparation for Team Snuff getting ready for a wave of new music in time for Halloween roughly 4 weeks from now including Scum’s 17th album Nobody Spared in a couple weeks & the sophomore effort from albeit LSP debut from their newest signing the King of Horriblecore sometime afterwards, both of them observe The Unkindness that the world has slowly devolved into with the darkest of the 4 full-lengths they’ve made.

Score: 3.5/5

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Salt – “Salty n Lit” review

Salt is a 60 year old MC from Brooklyn, New York who became amongst the First Ladies of Rap Salt-n-Pepa alongside Pepa & DJ Spinderella back in the mid-80s. Outside of them dropping 5 full-lengths together in a little over a decade with last one being in 1997, they’ve also been embroiled in a copyright dispute with Universal Music Group since 2022 & were recently inducted into the Rock & Roll Hall of Fame last fall. However, neither of them until this point have gone solo & Salt’s taking it upon herself to be the first to do so.

After the “Long Game” intro, the opening track “Chosen” gets things poppin’ instrumentally bringing a Bay Area vibe to the table talking about her greatness whereas “Real One” embraces a funkier vibe flexing that she’s still nice with it after all this time away recording. “Diamonds in the Light” flips one of my favorite Jadakiss tracks “Still Feel Me” to discuss maintaining your inner peace leading into “No Crumbs” chops up a soul sample so she can talk about having unfinished business

“Kings & Queens” after a Chuck D interlude wraps up the 1st half with a 2nd single honoring hip hop culture’s historic origins in the east coast while “4 the Love” featuring Dee-1 soulfully kicks off the 2nd leg showing some love to the Nas joint “1 Mic”. We have Salt experimenting with R&B & trap on “Overcomers” asking where the ladies at for a summertime bop despite it being fall now & after the “Insecure” interlude, “Ride or Die” blends pop rap & trap for a decent romance anthem.

The spacious boom bap “My Team” reps her squad interpolating “My Chick Bad” by Ludacris & Nicki Minaj during the hook while “Poison Water” brings an aquatic trap flare to the table asking why this deadly form of rain’s been pouring down upon her. “Like Christ” feels less of an “interlude” & more of an undeveloped plea to become similar to Jesus just before the funky “All My Life” outro sends off Salty n Lit looking back at her career.

Similarly to Mike D of the Beastie Boys’ own solo debut Thank You last month, Salt gives the world a personal statement based on her life experience & who she has become for anyone who appreciates what Salt-n-Pepa have down for the culture without the need of a major label. There’s a heavy gospel influence to the production which can be inconsistent at points & more notably the guests, but it’d be interesting to hear if she makes anything going forward with bigger names joining her on the mic & behind the boards.

Score: 3/5

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Tee Grizzley – “They Forgot” review

Detroit, Michigan rapper & singer/songwriter Tee Grizzley ending the month with his 7th studio LP. Originally a member of the quartet ASBH, it wouldn’t be until 2016 where he would blow up off his first solo single “First Day Out” & earned a contract with 300 Entertainment. His profile would continue to grow by dropping projects like his debut mixtape My Moment, the debut album Activated, his 2nd tape Still My Moment, the Timbaland exec-produced sophomore effort Scriptures or my personal favorite: his 3rd mixtape The Smartest. Built for Whatever, Chapters of the Trenches, Half Tee, Half Beast & Tee’s Coney Island were generally mixed, coming off the sonically diverse Post Traumatic as well as Forever My Moment & the divisively received Street Psalms to admit he feels like They Forgot.

“99 Ovrall” sets the tone of what’s to come with this underwhelming intro getting on his gangsta shit whereas “Back ina Yams” made for a more uninteresting single confessing he doesn’t like being around these dudes who force his hand. “How” doesn’t make things any better trying to figure out the reason people don’t have any sort of appreciation towards him leading into “Locked Up in Mexico” talking about those he showed the road to paying no homage to him.

Meanwhile on “Orphan”, we have Grizzley comparing all these new Detroit rappers to his children even if I feel like it’s still lacking instrumentally just before “Snow Grass Leaves” talking about coming from a place where it he your own loved ones hurting you. “Detroit Public Schools” describes being overseas for an entire month & still turning out fine in the end until “Hard Times” featuring Hurricane Wisdom ends the 1st half talking about the struggles of poverty.

“Survival Skills” commences the 2nd leg of They Forgot speaking of having the expertise of surviving out in these Motor City streets while “Grizz They Need You” responds to those saying that the city needs him to talk to them regardless of the beat not being all that exciting. “No Effort 2” for a sequel to the My Moment track of the same name feels more half-assed than it’s predecessor while “Holding On” talks about problems only getting worse whenever money’s involved.

Winding down the last few moments of They Forgot, the song “It’s a Privilege” while “Robbery 10” contains one of the weaker entries in the titular series of tracks he’s been making since the 2020 COVID-19 pandemic when he should most likely hang it up here. “Rain” featuring Skilla Baby produced by Coupe & Hitmaka was easily the most gratifying instrumental here sampling “Rain on Me”by Ashanti for a pop rap single while “Finally Made It” ends the full-length talking about feeling like he’s become successful.

Street Psalms felt like a significant letdown compared to a great bulk of Tee Grizzley’s output throughout the course of the decade & I wouldn’t say They Forgot about him because he still has an impressive following, but rather than the quality of his music has been beginning to decline for the past year & this newest album makes another example of that containing the most uninteresting batch of production he’s ever rapped over.

Score: 2/5

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Your Old Droog – “Bread & Butter” review

In front of us the latest studio LP & the 10th overall from Ukrainian-American lyricist Your Old Droog. Breaking out through his self-titled debut, many actually first thought he was an alter ego of Nas given that their voices are somewhat similar. He eventually became a legend in his own right off later projects such as Packs as well as It Wasn’t Even Close, TIME & the Nicholas Craven-produced YOD Wave. The 4 extended plays he gave us afterwards YOD Stewart, Yodney Dangerfield, The Yodfather & The Shining weren’t as great in my opinion yet most certainly had their highlights at the same time. Coming off Movie along with the anything’s possible & YOD Serling EPs however, he’s sticking to his Bread & Butter.

“You Know How That Girl” kicks things off reminding the world of Droog’s flawless style whereas “Brighton Beach” featuring Evidence takes a more soulful approach instrumentally suggesting all these rappers who’re nowhere near their level are better off working jobs when there’s no lies told. The title track produced by Cartune Beatz gives off a nostalgic vibe talking about artists he grew up listening to becoming fans of his until the lead single “Pavlovian Effect” featuring A-Reece & Masta Ace goes for a conscious boom bap direction.

Oddisee appears for “Thinking” so they can talk about the only time where they don’t have something in their mind being when they go to sleep at night while “I Appreciate You” ends the 1st leg with this smooth dedication to YOD’s soulmate. “Symphony” begins the 2nd half of the album with an organ-inflicted beat talking about how great his life is leading into “Therapy” admitting he’s going through the motions & still not knowing who he is as a grown man.

“Schadenfreude” hooks up this dreamy Conductor Williams instrumental including a witty bar out the gate referring to Stove God Cook$’ issues with Babygrande Records while the 2nd & final single “I Don’t Care” blends jazz rap & neo-soul thanks to Flying Lotus shrugging off what anyone says of him. “Hunter Biden” drumlessly points out those around you hiding when shit ain’t perfect only to come back once it’s smoothened out just before “Impression Control” finishes Bread & Butter dissing the soft.

Providing some comfort food for fans of 90s east coast hip hop & simultaneously making a point regarding what makes that sound so perennial, Your Old Droog returns to Nature Sounds for the first time in 4 & a half years drawing a huge bulk of Bread & Butter’s inspiration from his youth when his family would thinly spread caviar across plain bread. There are some points where I feel like the production could’ve been better, but the lyrical balance between braggadocio & reflection makes the album worth listening.

Score: 3.5/5

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Raz Fresco – “Boulangerie II” review

Pretty sure this is the 19th studio LP from Toronto, Ontario, Canada emcee/producer Raz Fresco. Someone I’ve been familiar with since my high school years at this point whether it be some of his features or his own extensive discography including the Magneto Was Right mixtape series, the Futurewave-produced Gorgeous Polo Sportsmen album, the Nicholas Craven-produced Boulangerie album, the Cake beat tapes, the Gia…À La Carte collab EP with Estee Nack, the Cookin’ Soul produced Bakin’ Soul, the Daniel Son collab effort Northside & the DJ Muggs-produced The Eternal Now. Coming off Stadium Lo Champions & the self-produced Y = Self however, Craven’s back behind the boards for a Boulangerie sequel over a week after Priscilla Kelly ended Gisele Shaw’s inaugural reign as MLP Canadian Women’s Champion.

“Blueberry” opens up with this 91 second intro where Craven’s chopping up a soul sample & Raz’s talking about now being his time whereas “Don’t Belong” takes a more drumless approach pulling hallmark cards for a couple minutes. “The Best of Me” further embraces a chipmunk soul vibe instrumentally talking about providing the strongest version of himself as be possibly could prior to “Yesterday” featuring Blu & Cavalier soulfully finding the trio pursuing the cause of all evil.

Meanwhile on “L’ouvre”, we have Fresco over a jazzier beat with some secondary influences of chipmunk soul going within to get the truth just before “New Flavours” comes through with a vibraphone-inflicted stoner’s anthem. “Tip of My Mind” reached the midway point soulfully talking about someone who’s become a shell of their former self while “Things We Do” featuring Estee Nack gets the 2nd half of Boulangerie II going recapturing what made Gia…À La Carte so distinct.

“Golden Brown” compares his prestige to that of WWE Hall of Famer & former SMW Heavyweight Champion Jake “The Snake” Roberts leading into “Checkmate” hooks up some strings to talk about leaving bread spread across the table on some mobster type shit. “Mr. Bean” featuring Jimmie D & The 6th Letter links up so they can bring it hardcore over a synth instrumental while “Offerings” treads the chipmunks soul waters once again letting the world see how it goes around his parts.

Jimmie D & Mike Shabb both appear for the drumless “Old Port Party”, which I’d place above over “Mr. Bean” because of the way they aggressively set out to even the score while “Frogs in the Water” jazzily talks about everyone being in a different maze looking for the exit “More Colour Money” featuring Boldy James finishes Boulangerie II with 1 last chipmunk soul track where he & Boldy can discuss going from underbosses to overlords.

The original Boulangerie ranks amongst the most drumless, jazzy & lyrically abstract material Raz Fresco has recorded & this sequel 4 & a half years later dethrones Y = Self by a hair to become my new favorite album of the 2 he’s dropped in 2026. Nicholas Craven’s drumless production feels more soulful despite him still incorporating elements of jazz rap, there’s more consistency from the guests & it’s another outstanding representation of the authentic artistic exchange between Toronto & Montreal.

Score: 4.5/5

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Zukenee – “Blunts & Blades” review

Brand new mixtape & the 3rd overall from Atlanta, Georgia rapper/producer Zukenee. Starting in the spring of 2021 off his debut EP Undiscovered, he would continue to make a name for himself in the underground by putting out a couple more EPs in Castle & Playful alongside the debut mixtape Stop Playing. Subsequent exclusive singles like “OJAYS” & “Chest” would later become amongst his best singles since both of them were released in the span of a year & a half preceding Player Slayer. Guillotine, Birth of St. Slay, Slaytanic, Knight Shift, Eye Love U, Zuminati & the Trapped in the Dungeon series have all followed since. B4BB came out over a week ago & the main course Blunts & Blades is here sooner than anticipated.

“Kelly Chanelly” opens up talking about feeling like a monster soon as he hops out of the Jeep over a minimally dark Cade beat whereas “Mixinggg” goes for more of a standard trap vibe instrumentally speaking of combining lean & xanax in his cup. “Break My Scale” talks about exposing all these bitch-ass wannabe thugs for who they are leading into “Calibrated” runs it back with Cade to flex he’s gotten so dirty, that his cleanliness has become an urgency.

As for “50+50”, we have Zukenee talking about spending hundreds of dollars on guns & drugs while “Walked Out” calls for all his young shooters to continue robbing all these pussy ass rappers. “Who DF” ends the 1st leg of Blunts & Blades talking about how it took him a long time to get to where he’s at in his career presently just before “Funky Monkey / Characteristics” kicks off the 2nd half with a 2-parter boasting of being the type to drop a bag & get it back.

“Kisses of Molly” keeps the tape going talking about all of his bitches keeping it solid & staying on some slick shit while the trap/pop rap single “?” asks what he’s supposed to do with his chopper. “Skreet Bitch” incorporates some chaotic synth melodies to break down his preference in women who got a little hood in them while “Face in Pillow” advises not to take it personally if he leaves & leads one one because he’s a youngin’ increasing his revenue.

The song “Jeffrey” talks about making deposits into his bank account every single morning when he wakes up & slimin’ muhfuckas like Young Thug while “French Tip” goes for a crunk sound so he can keep showing off his wealth. “Rags to Rick” produced by BNYX of Working on Dying was a great way to end Blunts & Blades, talking about going from not having shit to wearing Rick Owens & hoping this chick he considers the one doesn’t wind up lying to him.

Trapped in the Dungeon & it’s sequel each have some of Zukenee’s craziest songs yet like “Qooler” or “Start the Day”, but the disappointment I had for B4BB over a week earlier gets put to rest since I enjoyed a great deal of Blunts & Blades. It’s probably the most experimental thing he’s done so far with Cade’s 40% share of the production & the outro being the most enjoyable moments of the bunch, coming off the feature he did for KARRAHBOOO’s newest EP Not da 2 for his most gratifying 2026 offering & only drawing closer to the Cardo-produced Zudo.

Score: 3.5/5

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Kurupt, Masta Killa & Rakim – “The Godbody LP” review

New collaborative full-length between Hawthorne, California by way of Philadelphia, Pennsylvania emcee Kurupt alongside Brooklyn, New York emcee Masta Killa & finally pioneering Long Island emcee/producer Rakim. All 3 of whom are notable in their own rights where it be Rakim being acknowledged as The God MC or Young Gotti & Jamel Irief coming up as members of Tha Dogg Pound & the almighty Wu-Tang Clan respectively. They linked up a couple years ago on the “Be Ill” single & that singlehandedly sparked interest in making The Godbody LP produced by Nick Wiz & Rakim under Holy Toledo Productions & Compound Interest Entertainment a reality.

“Goin’ Down” gets things started hopping over a sample-driven beat talking about wanting no parts with any of these fake ass rappers whereas “DPG Wu-Tang, Wu-Tang DPG” goes for a boom bap vibe instrumentally reminding the world exactly what they do best. “Rock Ya Body” by Tha Dogg Pound, Masta Killa, Ghostface Killah & Raekwon brings all 5 of them together over some horns for a hardcore hip hop skullsmasher leading into “Push the Button” getting on grown man time.

WWE Hall of Famer Snoop Dogg appears during the remix of “Rabbit” whipping up a west coast anthem suited for driving around in a low rider & after the “God Speak” interlude, “A Different Kind” by Rakim talks about The God being a whole breed of his own category. “Is It Love?” treads the symphonic boom bap waters topically demonstrating a more romantic side to them just before “Thelonius” featuring Buckshot, Rim & Trigga goes full rap rock so they talk about being the ones.

“Nights Over Brooklyn” by Masta Killa further embraces the rap rock elements recalling a lot of lives & souls being lost when the 80s crack epidemic happened while “Upstate Introspective” bittersweetly lets the most Wu’s most proficient affiliate Killa Sin spit a brief verse from a prison phone. “Still Ill” featuring Kool G Rap & KRS-One comes through with a worthy “Be Ill” sequel while “9 & Chrome Fiend” by Kurupt properly sends off The Godbody LP heavily sampling “Microphone Fiend”.

The Godbody LP was simultaneously built to showcase the diversity & versatility of Kurupt, Masta Killa & Rakim while simultaneously reshaping a vision the late 2Pac has prior to his death of bridging the east & the west coast for a planned album called 1 Nation that the Outlawz tried to recreate in 2021 preceding their disbandment following Young Noble’s passing. Hopefully this means we’re a step closer to the G.O.Ds Network (REB7RTH) sequel containing lesser guest appearances than its counterpart now that the mission of building upon mutual respect, legacy, uncompromising artistry & coastal unity was a success.

Score: 4/5

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