BVNGS – “Twice a Day w/ Food” review

This is the 7th EP from New York City emcee BVNGS. Beginning over a decade ago off the strength of her debut EP Not Available followed up by 7 Dutches & a Sweet Tea, Brown Girls & Bubble Coats, Lula & Only Crying Because I’m Drunk. She later blew up off her 6th EP LaQuisha in the spring of 2021 & only 4 months later, I had the privilege of meeting her at a Catch 1 show in Los Angeles that Flee Lord was headlining & was impressed by her set. 16 months following her full-length debut Mary Mack, she’s enlisting DJ M80 to host Twice a Day w/ Food.

After the intro, the first song “Herald” reminds everyone how she got her moniker over some pianos & 808s whereas “Missed Call” takes the boom bap route instrumentally talking about getting her roll on if you don’t answer her calls. “Big Dipper” takes a rap rock approach to the beat flexing that she’s too hot to be so cold & after a “Drug PSA”, “Nubuck” experiments with cloudy trap so she can catch some Ws.

“125th Sandman” returns to the boom bap asking God to forgive her for being so shitty while “Subconsciously Yours” drumlessly looks back at a breakup. “Never Dawg” lusciously feels content with bum bitches not handling this shit while the funky “Doomsday” talks about feeling tired because of the state of the world. “Vanish” goes a sample drill direction getting too lit & the drumless chipmunk soul outro “I Swear” finishes by talking about keeping her head high.

Mary Mack was a solid return for BVNGS the summer prior, but Twice a Day w/ Food surpasses it by revisiting the distinct chemistry that made Brown Girls & Bubble Coats such an entertainingly short listen in 2019. We’re still getting the boom bap, trap & drumless production heard all over BVNGSY’s debut album 16 months earlier except there’s hints of rap rock & sample drill thrown into the fold with the east coast lyricist sounding a lot hungrier since she’s not on a label anymore.

Score: 4/5

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Ashnikko – “Smoochies” review

Ashnikko is a 29 year old rapper & singer/songwriter from Oak Ridge, North Carolina who caught the attention of Parlophone Records & Warner Records off her debut EP Sass Pancakes. Unlikeable & Hi, It’s Mewould go on to prelude her 4th EP Demidevil, with the latter dividing the musical discourse. Her debut album Weedkiller reached the same level of moderacy Hi, It’s Me did & some of her greatest singles yet have been building up towards her sophomore effort with curious expectations.

“Smoochie Girl” begins with a pop rap, contemporary R&B, hyphy & electropop single talking about falling for someone whereas the hedonistically erotic “Liquid” explores her desires with her partner. “Trinkets” blends bubblegum bass, dance-pop, Baltimore club, hyperpop & hip house likening her collecting boys to collecting small ornaments prior to “Chinchinya” describing her dog Wednesday gruesomely attacking her ex referring to a nickname for Wednesday when she’s misbehaving.

Moving on from there with “Skin Cleared”, we have Ashnikko refining what she was going for during both the Demidevil & Weedkiller eras feeling happier & healthier as a result of a breakup just before “Microplastics” embraces a sassier tone showing a bit of a L.A.M.B. (Love.Angel.Music.Baby.) era Gwen Stefani influence. “Full Frontal” however uses lobotomies as a metaphor for letting go even if it’s only for a brief moment while “She’s So Pretty” takes a wholesome approach describing a woman who she can’t live without.

“Wet Like” featuring COBRAH starts the 2nd half of Smoochies fusing future house, bass house, electro hop & hip house embracing lust & hedonism fully while “I Want My Boyfriends to Kiss” confesses a fantasy of her 2 male lovers making out to each other making room for her sense of humor during the outro. “Sticky Fingers” combines pop rap, contemporary R&B, dance-pop & Arabic pop to talk about wanting to invest her time into her friends or new skills while “Lip Smacker” spends 2 & a half minutes getting cunty.

Pop rap, tech house & bass house all collide on the playful lead single “Itty Bitty” talking about tiny skirts healing a broken heart prior to “Baby Teeth” bittersweetly reflecting the good & the bad times of a relationship over an electropop instrumental with a banjo. Of course I can’t forget to mention the lo-fi country pop closer “It Girl”, where she’s singing about the concept of a young female who’s achieved everything in life being a short-lived feat from her perspective.

Tossing the whole Dungeons & Dragons concept of her debut out the window due to fatigue was a very smart move for Ashnikko to make because her getting more autobiographical with Demidevil‘s older sister Smoochies is a key reason I consider it to be the most gratifying work of her entire career. Gotta mention Slinger’s production ditching the trap influences of Ash’s previous work entirely to incorporate elements of electropop, bubblegum bass, dance-pop, electro house & electro hop in the midst of her signature pop rap sound.

Score: 3.5/5

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The Last Dinner Party – “From the Pyre” review

The Last Dinner Party is an indie rock band from London, England, United Kingdom consisting of multi-instrumentalist/vocalist Aurora Nishevci, bassist Georgia Davies, rhythm guitarist/vocalist L.Mayland, lead guitarist Emily Roberts & frontwoman Abigail Morris. Signing to Island Records a year after their formation, they would make their debut Prelude to Ecstasy at the start of 2024 & are putting out a highly anticipated sophomore effort to further establish themselves in the windmill scene.

“Agnus Dei” begins with Abigail & company showing a bit of a Sir Chloe influence asking if one’s name in lights forever would be better than a wedding ring whereas “Count the Ways” taking inspiration from Arctic Monkeys describes a bitterness growing between 2 people to the point getting payback. The final single “2nd Best”combines indie rock, glam rock & post-punk revival to sing about escaping a relationship where you’ll be betrayed again while the lead single “This is the Killer Speaking” swaps out the post-punk revival elements in favor of pop rock progressive pop & baroque pop for a homage to “Chantilly Lace” by the late Jerry Lee Lewis

Reaching the halfway point of From the Pyre, we have L.Mayland handling the lead vocals on “Rifle” including a crushing bridge performed in French towards the backend of it singing about the ongoing Gaza genocide & the idea of how a mother would feel if her child would go on to become a war criminal leading into the common metaphor of “Woman is a Tree” feeling like it could be included in the upcoming 4th & final season of the Paramount Skydance Corporation owned Showtime thriller drama series Yellowjackets next year.

“I Hold Your Anger” with Aurora Nishevci performing lead vocals & conceptually calling back to “The Feminine Urge” off the band’s debut reminds me of Florence + the Machine, increasing my anticipation for Everybody Scream this Halloween while “Sail Away” serves as a sequel to “On Your Side” referencing the 新世紀エヴァンゲリオン theme song 残酷な天使のテーゼ by 高橋洋子. The 2nd single “The Scythe” fuses pop rock, indie rock, chamber pop, progressive pop, baroque pop & jangle pop suggesting that death comes for us all no matter what & having no fear of what’s on the other side with an insane guitar solo prior to the outro until the closer “Inferno” reminiscent of MARINA’s classic debut album The Family Jewels sings about where Abigail is personally in this moment.

A bit more character-driven & darker than Prelude to Ecstasy was, The Last Dinner Party still maintains the deeply personal approach to their songwriting that made their introductory full-length so well received throughout From the Pyre quickly establishing themselves as a dominant force in the windmill scene surely continuing to join the ranks of Black Country, New Road & the now disbanded black midi. The pop rock, glam rock, indie rock, baroque pop & progressive pop styles explored 20 months ago are being completely refined with the band being more serious & aware of the state of the world today.

Score: 4/5

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Novatore – “Embrace the Darkness III” review

Chicago, Illinois emcee Novatore celebrating Halloween early with his 14th studio LP. Emerging as a member of the Infamous Crew, he’s also built up an impressive solo career over nearly a decade by dropping 4 EPs & an acclaimed collaborative effort with A.M. Early Morning produced by Stu Bangas called Kingdom of Criminality & it’s recent sequel produced by Johnny Slash. Other highlights include Louie, Louie II, Embrace the Darkness, Portrait of a Madman, Embrace the Darkness II: Explorers of Experience, Master of Morbid Creations, Living in the End Times, Alchemy & Black Magic, his Goon MuSick debut The 87 Arsonist & the Brenx-produced Agoraphobia. Only halfway through the month, he’s looking to outsource both of his previous discography entries under Goon MuSick with Embrace the Darkness III.

After the “Possession” intro, the first song “Apostrophes” opens with a boom bap instrumental from none other than C-Lance talking about his demons wanting full control the way he constantly acts whereas “Last Chapter” featuring Lord Goat finds the pair making sure their competition doesn’t have a career. “In the Scope” eerily talks about staying underground forever & once “Murder for Hire” featuring Apathy spends a few minutes quenching for blood, we’re treated to a compositional “War Plans on Signal” intermission.

“Mannequins” brings some chilling pianos into the fold starting the 2nd half bodybagging those who want to battle him while “Moving Keys” featuring Chubs & K-Prez turns peons into vegetables. The sampling on “Deafening Silence” feels reminiscent of Jedi Mind Tricks giving shoutouts to those showing love & after “No Masters” featuring 2 Feathers talks about not being afraid to fight, “Dark Empire” featuring DreamTek ends with them giving their 2 cents regarding the current political climate.

During the COVID-19 pandemic at the beginning of this decade, the original Embrace the Darkness like both Louies marked a huge improvement from Novatore’s earlier material & the sequel 13 months afterwards further propelled himself artistically. Fast forward to present day only a couple weeks away from Halloween, he & C-Lance return to the darker vibes of both it’s predecessors surpassing The 87 Arsonist & Agoraphobia to become his finest work since signing to Goon MuSick.

Score: 4.5/5

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Tha God Fahim – “Lethal Weapon 4” review

Brand new EP & the 65th from Atlanta, Georgia emcee/producer Tha God Fahim. Starting as an affiliate of Griselda Records & being 1/3 of the Dump Gawds alongside Mach-Hommy & Your Old Droog, we also can’t ignore the massive discography that he’s managed to build for himself, some of the standouts include Breaking Through tha Van Allen Belts & Dump Assassins. He’s been putting out amongst his best material in the past few years like the Camoflauge Monk-produced Dark Shogunn Assassin, the Nature Sounds-backed Iron Bull, the Nicholas Craven-produced Dump Gawd: Shot Clock King series, the Oh No-produced Berserko, the Mike Shabb-produced Dump Gawd: Rhyme Pays, Tha Supreme Hoarder of All Pristine Wealth, Supreme Dump Legend: Soul Cook Saga produced by Cookin’ Soul & Machine Gun Vocabulary produced by Cartune Beatz. Preluding the upcoming 17th installment of the Dump Gawd: Hyperbolic Time Chamber Rap saga, Drega33’s continuing the Lethal Weapon series with installment 4.

“Never Miss” starts with a drumless chipmunk soul instrumental talking about living on in the pages of greatness whereas “The Storm” works in more sampling to put pressure on the whole rap game’s neck. “Solo Mission” continues the chipmunk soul vibes to talk about brutally slaying any opponent & “Never Full” chops up more samples so he can chill in luxury.

The song “Never Fail” begins Lethal Weapon 4’s final act with the Dump Gawd talking about only excelling than catching Ls on top of a drumless chipmunk soul sample while “So Many Rhymes” talks about the days when he used to feel trapped looking for a way out now going on a mission to inspire others. “Rage Quit” last but not least wraps things up leaving his competition dazed from a furious blaze.

Coming off FlyG’s greatest body of work Mennblvck earlier this summer & producing Che Noir’s recent single a week ago, Drega33 caught the attention of many including myself this spring by commencing the Lethal Weapon series as a bit of a quick breather in between Dump Gawd: Hyperbolic Time Chamber Rap entries & that tradition is being continued with the most soulful of them all.

Score: 4.5/5

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7xvethegenius – “Self 7xve 3” review

Buffalo, New York emcee 7xvethegenius making her debut under her Broadband Sound imprint’s new distribution deal with Roc Nation Records for her 3rd album. Emerging off her first 2 EPs The Calm Before & Self 7xve as well as the full-length debut 7xve is Love, it wasn’t until she & Jae Skeese both became the first artists to sign with Conway the Machine’s very own Drumwork Music Group where 7xve got her biggest break yet. She has since preluded Death of Deuce with Thy Will Be Done alongside Self 7xve 2 & most importantly the DJ Green Lantern-produced The Genius Tape, celebrating the 1-year anniversary of her final Drumwork opus this past weekend & looking to close out the Self 7xve trilogy 52 weeks later.

“Stay” produced by Haas Almahdi & S1 was a lush intro talking about having no care or fear & speaking God into her home before sleeping at night whereas “Twin” featuring Sol ChYld works in some pianos from CG confessing they’ve fallen in love again. “Price of Love” carries the keys over except the kicks & snares are replaced with hi-hats talking about paying the price of pain in exchange of affection leading into “You & Me” continuing the romantic subject matter contrasting her doing well & not so much for her partner from what she’s heard.

Haas reunites with 7xve & has Bricks da Mane co-produce my personal favorite of the 2 singles “Pedals” featuring Reuben Vincent questioning whether he truly loves her or not over a jazzy instrumental while the melodically cloudy “911” featuring Lil Sos reflects a relationship where their arguments weren’t ever merely between them. We later get some cool sampling chops on “Windows” talking about her beating the odds that were against her while “Worthy” featuring Flames dot Malik brings back the jazz thanks to Cartune Beatz teaching that it’s not love until you give some.

“Running” featuring Willyynova begins the 4th quarter of Self 7xve 3 talking about themes of escape over an EYEKETYSON instrumental while “Save Yourself” featuring Monie Love rivals the lead single for the best of the 5 collaborations forever going out their way to save themselves. “Survivor’s Remorse” hooks up more pianos to spit what she considers to possibly be the realest shit she’s ever written & “On My Own” ends the LP by talking about standing in the dust once the smoke has cleared.

Every chapter of the Self 7xve trilogy to me has it’s own level of significance when you think of the fact that the inaugural entry came out months prior to 7xvethegenius getting a label deal & the sequel came when she was halfway through her said previous contract. Of course I have to mention the last 2 installments both being extended plays & this being an actual album, marking a new era in her career under Roc Nation recalling true stories of her life with meticulous production in preparation of her & Che Noir’s long-awaited collaborative project a month from now.

Score: 4/5

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3200 Tre – “Real Mitten Baby” review

Lansing, Michigan rapper 3200 Tre surprise-releasing his 3rd studio LP. Introducing himself on wax during the fall of 2020 when the COVID-19 pandemic had completely shut the world down, he has since built up his last dozen EPs along with the full-length debut Michigan Music & of course the sophomore effort 30ville all during the first half of this ongoing decade. Signing to Rio da Yung O.G.’s very own EMPIRE Distribution imprint M.I.N.E. Entertainment last summer, coming off the Spin the Block EP to tell the story of a Real Mitten Baby.

“Thug n Savage” was a cloudy trap intro suggesting to keep a switch on you at all times since a lot of people have betrayed him & knowing they’ll do it again to others whereas “Chrome Case” taps into the Detroit sound responding to those saying he ain’t rich. “GTA VI” makes witty references to Rockstar Games’ flagship franchise while “Bounce Back” confesses he’s nowhere near where he’s supposed to be.

Jakesand produces my personal favorite track here “Snapchat” talking about flying to the paper regardless of how far it is leading into “Pamper” ignoring any incoming calls unless money’s involved. Project X” featuring Babyfxce E moderately finds the pair spitting gangsta-themed lyrics over a Detroit trap instrumental while the superiorly entertaining “Pep Rally” featuring RMC Mike trades verses with each other for 2 & a half minutes.

“4 Weeks” featuring Head Osama marks the my the only guest appearance I could’ve done without despite wanting to change the whole game by pressing 1 button just before “Good Day” featuring Rio da Yung O.G. makes up for it with both of them talking about making $1M in a single day. “New Number” discusses standing on business because he’s well-known gun tucker while “The People’s Champ” heavily samples “The Sweet Escape” by Gwen Stefani.

The penultimate track “Left 4 Dead” gives a nod to the cooperative first-person shooter survival horror video game franchise that the Valve Corporation publishes, which put a smile in my face because the 2009 sequel’s amongst the greatest games of all-time. Of course I’d be remiss if I didn’t mention “Hold the Cheers”, which is the official Real Mitten Baby outro posing the question of how the fuck this cornball got motion when Tre’s nowhere near it & taking Ws.

Spin the Block was a fun Flint/Detroit sound EP to officially ring in the summer & now with Halloween approaching at the end of the month, 3200 Tre once again makes another example as to why he & his Real Money Counters brethren RMC Mike or fellow labelmates Scatz & the incarcerated Baby Ghost make M.I.N.E. Entertainment an interesting label telling the story of what it’s been like for Tre growing up as a Real Mitten Baby.

Score: 3.5/5

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Flock of Dimes – “The Life You Save” review

Baltimore, Maryland singer/songwriter Flock of Dimes a.k.a. Jenn Wasner returning for her 3rd studio LP. Releasing her full-length debut If You See Me, Say Yes almost a decade ago & the debut EP Like So Much Desire during the summer of 2020, she would go to sign with Sub Pop Records debut & make her debut in the label with her sophomore effort Head of Roses the next spring. 4 & a half years later, she’s looking to outdo herself artistically with The Life You Save.

The stripped-back 2nd single “Afraid” begins the album with Jenn passionately accepting everything that’s happened & refusing to let it dictate the outcome of her & all of our lives whereas “Keep Me in the Dark” goes for an indie folk vibe asking if her body will catch up to her mind if she acts like she’s above it. “Long After Midnight” made for a bittersweet lead single carrying over the sound of the previous track & a compelling video with Jenn interacting with her inner-child while the final single “Defeat” sings about total surrender going Americana.

“Close to Home” moves from there giving off a secondary influence of electronic music feeling like it won’t be a happy ending if she’s the last one standing leading into “The Enemy” embracing a country rock vibe seeking a vision of the dark from within her. “Not Free Yet” opens up about her night terrors coming over her yet she won’t let them take her over bringing the Americana sound back into the fold while “Pride” returns to a country rock direction promising that her self-esteem won’t break her.

To begin The Life You Save’s final leg, “Theo” crosses elements of both indie folk & country advising the character who calls on her instead of God to take their heartache to the one who loved her first while “Instead of Calling” easily sticks out as the most mournful moment on the entire record hiding from her truth as she hides in her song. “River in My Arms” tells her partner she can only hold them like a tree holds to it’s leaves & “I Think I’m God” sends it all off continuing to keep going until she’s slowing.

Taking the themes of heartbreak from a dualistic perspective a few steps further, The Life You Save at it’s core is the most honestly intimate music opus in the Flock of Dimes canon story of how it feels to be trapped between the world one originally came from & the one they’ve escaped to. The production here focuses heavier around Americana, singer/songwriter & indie folk with some indie pop, indie rock, indietronica, alt-country, folktronica & dream pop hoping to provide comfort for the people still learning to live with & love themselves.

Score: 4/5

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BIA – “Bianca” review

BIA is a 34 year old rapper & singer/songwriter from Medford, Massachusetts whom Pharrell signed to i am OTHER Entertainment & RCA Records when I was in high school. Her debut mixtape & her debut EP #CholaSeason & Nice Girls Finish Last: Cuidado marked her only releases for the labels, signing to Epic Records for For Certain & Really Her. Cardi B dissed her on her sophomore effort Am I the Problem? couple weeks ago & BIA’s responding with her full-length studio debut.

“October” sings for 106 seconds over some humming background vocals about refusing to make herself believe she doesn’t feel a thing at all whereas “Dade” featuring Key Glock finds the 2 teaming up to declare themselves as shapeshifters. A$AP Ferg & Denzel Curry both appear for a sequel of “We On Go” that’s energetic as the original version produced by Honorable C.N.O.T.E. while “Sad Party” talks about how people want to see each other party with someone else.

Moving on from there, “1 Thing” pays homage to Lauryn Hill with a breezily tropical hip hop single making it known that she doesn’t trust any man with 0 experience leading into “Pray for You” featuring Khalil Harrison makes for a decent attempt at ampiano. “Hard Way” featuring Becky G teams up for a bilingual Latin trap crossover looking to party tonight while “Bad Guy” seemingly responds to Cardi B’s jabs directed at her over a Turbo instrumental.

“+44” starts the 2nd half of Bianca taking the sample drill route talking about seeing face that’s unlike any other person she’s ever met while the Afrobeats-inflicted “Ready Set” runs the paper up until everyone else keeps pace with her. “Birthday Behavior” featuring Young Miko samples “Hips Don’t Lie” by Shakira talking about what they be doing on their birthdays while “Guava” hops over some horns to get unruly.

The song “N.W.F.A. (N****s Will Fuck Anything)” sets off the 4th quarter playfully talking about men being overly horny while “Awake” blends pop rap & boom bap to ask who told them that life would be easy when that’s a clear lie. “Crazy” featuring Ty$ puts a bigger emphasis on the pop rap style talking about going crazy for one another & “Trifling” was a surprisingly lush outro warning that the next bitch her man finds won’t be his next problem.

Starting the deluxe run, we’re treated to the original “We On Go” justifying the inclusion of a follow-up during the 1st half while the TiaCorine/Young Thug- inspired no melody pop rap single “Pissed Off” featuring Lil Yachty talks about being disrespected. The final bonus track “Lights Out” featuring J.I.D swaps out the no melody undertones in favor of electropop continuing to shine with the lights are dimmed.

Contrasting the question of anyone can name 5 songs in BIA’s whole discography: I’ve been paying attention to her since my adolescence when the Billionaire Boys Club/Icecream founder & future Louis Vuitton’s men’s creative director brought her on board to a major label hoping that she’d release a whole body of work that exemplified the potential of singles like “Whip It” or more recently “We On It”. And even though I do appreciate the guests & the fact that she tried to give us the clearest version of herself, some of the production lacks in my opinion.

Score: 2.5/5

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TiaCorine – “Corinian” review

Winston-Salem, North Carolina rapper & songwriter TiaCorine coming off some of her biggest singles with an official sophomore effort. Blowing up earlier this decade with her debut mixtape The Saga of 34Corine as well as the debut EP & full-length debut I Can’t Wait, her last EP Almost There marked Tia’s major label debut after signing to Interscope Records & is looking to make her biggest waves yet with Corinian following a couple successful teasers.

Saweetie appears for the decent pop rap/trap intro “Pretty” talking about their bank accounts saying heavy as well as having too many men & bitches wanting to end them because of it whereas the 3rd & my favorite single “Ironic” makes up for it from the pluggy Kenny Beats instrumental to the more deadly lyricism. “Buttercup” crosses over some synthesizers & guitars from Kenny talking about being a pop star prior to “Lotion” featuring Flo Milli letting those who don’t know how shit goes around their parts.

“Fall in Love” was probably my least favorite single of the 3 although I do appreciate the funk-soul sample approaching the concept of love the same way she always has in the past while “Cutting Ties” cloudily talks about switching sides like it’s a remix severing all associations with the person she has in mind. “High Demand” featuring Smino trades verses with each other for a romantic pop rap duet leading into “Was Hannin’?” featuring Wiz Khalifa advise us to put your money where your mouth is.

Meanwhile on “Booty”, we have Tia taking aim at a bitch who stays doing anything except minding her own business while the lead single “Different Color Stones” produced by Pooh Beatz talks about being stacked up nowadays & for anyone broke to back the fuck up. “La La La” attempts at pulling influences from Latin trap & resulting in one of Corinian’s weaker moments while the 2nd single “Ate” boisterously talks about nobody being able to take her spot.

“Backyard” featuring J.I.D was another single that I was highly impressed with whether it be Hit-Boy experimenting with trap metal or the sexually energetic chemistry between both MCs while the cloudy trap fusion “Crush” refuses to put anyone before her money. “Iced Out Kirby” minimally paints images of her materialistic lifestyle & once “Damn Right” featuring Pouya shuts down those who ain’t about it, “Impossible Girl” closes with her giving it all she’s got.

Finishing a trilogy that I Can’t Wait began & Almost There bridged, Corinian lets the world inside of TiaCorine’s very own metropolitan utopia balancing grit & vulnerability to realize her full-potential almost halfway through the decade. Showcasing her sharp lyricism & capturing her evolution since signing to a major label, she playfully yet powerfully steps fully into the artist she’s always envisioned herself to be amassing some notable guests & producers along the way.

Score: 4/5

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