Princess Nokia – “Girls” review

New York City rapper, singer/songwriter & actress Princess Nokia following up her double sophomore effort Everything Sucks, Everything’s Beautiful with her 3rd studio LP. Introducing herself off the full-length debut Metallic Butterfly over a decade ago, her expanded 1992 extended play following her debut mixtape Honeysuckle broke her out into stardom & her 2nd EP A Girl Who Cried Red was a disappointing look at her emo influences. Everything Sucks, Everything’s Beautiful left people divided & her 4th EP I Love You, But This is Goodbye under Arista Records after Magnolia wasn’t any better. I was however optimistic going into Girls since it’s been a minute.

After the “Girl FM” intro, the first song “Blue Velvet” is a somber boom bap opener calling out her abusers/rapists whereas “Medusa” embraces an industrial trap metal vibe likening herself to the Gorgon known beyond Greek mythology. “Period Blood” awkwardly talks about finding something sexy regarding menstruation & her autism making her tick, which I as an autistic person myself never knew she had.

“Matcha Cherry” embraces a heavy pop rap sound for an ode to femininity just before “Drop Dead Gorgeous” blends electropop, dance-pop, electro hop, midtempo bass & pop rap to finish the 1st half of Girls talking about her preference in women who like scream queen & are beauty pageant killers. “Gossip Girl” references The CW’s teen drama series of the same name taking shots at other females who tend to be trash while “Beach Babe” hangs out by the pool desiring to be a mermaid.

The self-produced “Pink Bronco” sings about being fed up with trying to survive & wanting to take the soft girl life easy over some violins after another “Girl FM” interlude, “Phoebe Philo” gives her flowers to the English-French fashion designer of the same name who launched her own quiet luxury brand 24 months ago. “Art Star” closes Nokia’s comeback with a minimalistic hip hop approach talking about finally understanding herself & her process.

Celebrating this new phase of her life, Princess Nokia honors the part of her that always had her own things by making the newest entry in her discography Girls the most gratifying piece of music I’ve heard from her in quite some time because of it’s presentation as this perspectively unique guidebook of living a fulfilling life portraying the realistic duality of girlhood it be the highs of hanging out with all of her friends besides her or the lows of predators & the rise of misogyny.

Score: 4/5

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OsamaSon – “Psykotic” review

Here is the 4th studio LP from Charleston, South Carolina star OsamaSon. Starting a few years ago, he would then start to pump out 3 EPs shortly after I’m da Man as well as Vengeance & Carnival respectively. He returned at the beginning of 2023 by dropping osamavrt, following it up in the form of slime & Bad Habits. Osama’s debut Osama Season & the follow-up Flex Musix increased his profile as did the 3vil Reflection collab EP with Glokk40Spaz. Jumpout came out at the beginning of 2025 & he’s looking to get a bit more Psykotic.

“Habits” opens with a distorted beat getting the mosh pits jumpin’ whereas “Worldwide” produced by gyro talks about the lifestyles of the rich & famous over a futuristic trap instrumental. The self-produced “Addicted” shifts back in rage territory to spit braggadocio while “Get Away” takes a more melodic approach so he can talk about never falling short like his competition are.

The Halloween vibes of “Maag Dump” are absolutely perfect with the holiday coming in 3 weeks flexing that his lil shooter hits shit for fun just before the chaotic “T193” references the late WWE Hall of Famer Paul Bearer. “FMJ” featuring che reunites the 2 & CXO nearly 3 months after “Hellraiser” for another exciting rage collaboration while the appropriately dark “Inferno” talks about being 20 when Atlantic signed him.

“She Woke Up” reaches the halfway point melodically boasting that he’s in this chick’s head rent free leading into him hyperactively making the “Function” jump to start the 2nd leg. “In It” gives off a more colorful rage mood tackling the theme of love & that same peppiness can be applied to “Yea I Kno” except he’s talking about his success.

gyro samples “Shirt Off” by Gucci Mane, Frenchie, OJ da Juiceman & Wooh da Kid during the chaotic “What’s Happening” & Lil O saving one of Psykotic’s best flows for his sole verse while “It’s a Party” talks about being fresh like every day his last & once “Gintama” homages the baby voice Playboi Carti used during the late 2010s, “Guap Man” takes almost 3 minutes to boast his wealth until the celebratory “Victory Lap”.

Joining the ranks of che’s newest album Rest in Bass or the recent Lucy Bedroque mixtape Unmusique & of course the new Jane Remover album Revengeseekerz, Psykotic in due time will certainly be regarded as the greatest work of OsamaSon’s entire career & amongst the most essential rage listenings of this ongoing decade from the mainly hardcore lyricism to the production’s undertones of experimental hip hop, industrial hip hop & trap.

Score: /5

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The Cool Kids – “Hi Top Fade” review

The Cool Kids are a midwestern duo from consisting of Chicago, Illinois rapper & songwriter Sir Michael Rocks and Mount Clemens, Michigan rapper, producer & songwriter Chuck Inglish. Releasing 6 mixtapes between the mid-late 2000s, they made their full length debut in the summer of 2011 with When Fish Ride Bicycles & reunited for the 2017 sophomore effort Special Edition Grand Master Deluxe. Last we heard from them was the Before Shit Got Weird & Baby Oil Staircase / Chillout triple disc trilogy in 2022, returning to Fools Gold Records for their 4th studio LP.

“Cigarello Helmets” is a 61 second Mobb intro produced by Chuck Inglish to flex that they’ve re-up’d whereas “We Got Clips” takes the psychedelic boom bap route instrumentally getting in their battle rap bags lyrically. “Dang!” talks about how other rappers want rain & start complaining soon as they get clout while “Rockbox” throws it back to the mid-school thanks to none other than A-Trak styling on everybody.

As for the single “Foil Bass”, we have Chuck & Sir Michael hopping over a Neptunes-inspired beat to talk about the pair poppin’ like they got jalapeños on ‘em just before “95 South” throws it back to when Atlanta bass was becoming popular 3 decades ago to boast the motion they still got. “Banana in the Tailpipe” featuring Seafood Sam unites the trio to pay their respects to the late Drakeo the Ruler while “Blade Runner” featuring Radamiz asks who’ll be seeing heaven first.

“Crunch Rap Supreme” returns to the boom bap with some of the hungriest performances on the entire album (no pun intended) prior to “Don’t Say My Name” wanting to know why some call them by their governments when out in public. Pink Siifu saves the best feature for “Clean Linen Satin Pillow” tackling the theme of betrayal while the silky “Tryin’ to Get Like You” talks about there being a lot to being fresh that nobody really tells us.

The song “Cinnamon Part 2” kicks off Hi Top Fade’s final act with a sequel to a standout from their Gone Fishing mixtape & once “Live Wire” hooks up some prominent synthesizers for a more romantic vibe talking about keeping each other up all night dancing until dawn, the closer “Back Up Off Me” nostalgically feels reminiscent of 80s R&B with a hip hop spin being put on in.

Special Edition Grand Master Deluxe along with the Before Shit Got Weird & Baby Oil Staircase / Chillout series all had songs that I liked, but Hi Top Fade has gotta be the most consistent full-length that I’ve heard from these guys in almost 15 years right when I had finished middle school & probably outdoing it in terms of quality. Even with When Fish Ride Bicycles having better guests, the main focus of both Chuck Inglish’s production & his chemistry with Sir Michael Rocks are the most exciting it’s been in a while ahead of when or if Mannie Fresh produces their next album.

Score: 4.5/5

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Mobb Deep – “Infinite” review

Queens, New York duo Mobb Deep consisting of Havoc & the late Prodigy teaming up with Mass Appeal Records for their 9th & final album. Releasing their debut Juvenile Hell under Island Records to mixed reception, The Infamous… & Hell on Earth through Loud Records & RCA Records would both become amongst the greatest east coast LPs ever. Murda Muzik distributed by Columbia Records would also be well received, but their final Loud offering Infamy as well as the Jive Records-backed Amerika’z Nightmare & of course Blood Money during a polarizing tenure on G-Unit Records/Interscope Records all left fans divided in the 2000s. Over a decade since The Infamous…Mobb Deep however, the 4th entry of Mass Appeal’s ongoing Legend Has It saga is now here preserving the Mobb’s Infinite legacy.

“Against the World” starts with Havoc sampling jazz & soul echoing the sentiments of former rival 2Pac’s magnum Me Against the World ending with Hav telling Bandana P that he’ll see him on the other side during the outro whereas “Gunfire” produced by The Alchemist takes the boom bap route to spit lyrical bullets at their competition. “Easy Bruh” stays in the basement instrumentally suggests to take things smoothly while “Look at Me” featuring Clipse unites 2 of the greatest gangsta rap duos of all-time.

Big Noyd joins forces with “The M. The O. The B. The B.” for a sinister dedication to the group itself leading into “Down for You” featuring Nas works in a string sample for the trio to show a romantic side to all 3 of them individually. “Taj Mahal” was another great single choice even if it’s pretty much Uncle Al remixing the 2011 leaked Prodigy track “Night Life” by flipping “[The Infamous Prelude]” & Havoc adding his own verse, but then “Mr. Magik” vividly compares themselves to magicians.

“Score Points” locks in with Alchemist for the 2nd to last time taking a luxurious approach to the beat trusting the process promising to make y’all disappear like rabbits in hat tricks referring to the previous song & “My Era” marks Uncle Al’s final contribution to Infinite, reminding that Enter the Wu-Tang (36 Chambers) & The Infamous… defined the east coast 3 decades ago. “Pour My Henny” featuring Nas links back up with each other for an ode to whiskey while “Clear Black Nights” featuring Ghostface Killah & Raekwon talks about being either with them or against them.

The song “Discontinued” winds down the LP’s final act by flexing that they don’t make ‘em like the Mobb anymore over a raw boom bap instrumental & unfortunately, “Love the Way” featuring Nas is a blatant remix of the final single “Down for You” that dropped yesterday. “We the Real Thing” however makes it up for it with them giving a middle finger to the idea of rap beef since they got real drama going on such as having people out in the streets plotting to put bounties on their heads.

Infinite thus far surpasses Victory, The Emperor’s New Clothes & Supreme Clientele 2 as the greatest entry of the Legend Has It series by making a full circle moment out of the batch of unreleased Prodigy verses Havoc & The Alchemist used all over Infinite. It additionally recaptures the classically raw, dark & genuine Mobb Deep energy & sound that shaped the beloved Queensbridge duo I was thankful to see live a decade ago whilst addressing the current state of the culture.

Score: 4.5/5

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Rich Amiri – “Grit & Grace” review

Here is the 5th studio LP from Boston, Massachusetts rapper & singer/songwriter Rich Amiri. Turning heads for 4 years now off the strength of his debut EP Ethereal, the 4ersona member would go on to follow it up with 6 more EPs before signing to Internet Money Records & introducing himself to a wider audience on the aptly titled Evolution followed by the sophomore effort Ghetto Fabulous. He landed a spot in last year’s XXL Freshman Class, coming off War Ready last winter to spread Grit & Grace.

“So Long” kick things off with Amiri talking about having to cut a few people off in order for him to blow up & having no regrets whereas “Lights Out” apologizes in advance if he’s been too serious since he dislikes young hoes until the buzzkill outro. “I Don’t Mind” assures that this chick will wish she picked him in a matter of time prior to “Flex N Finesse” talking about the 2 things that he likes to do.

The beat switch on “See Us Now” was enjoyable living like a player until he waits for karma gets him for all the bad he’s done in his life while the lead single “Paranoid” asks if the world’s against him or if Amiri’s buggin’. “Twin Flame” talks about feeling like he’s back in 2016 wondering how he lost his sauce when he’s the one who made it just before “Hoes Mad” turns up 1 time out of spite of these bitches.

“Homesick” starts the 2nd half with another highlight moment minimally diving into his spirituality while the final single “In & Out”responds to 9 Vicious wanting to beef with him, assuring that it had nothing to do with a woman. “Moving Dumb” talks about not fucking around with his payroll since he’s a $1M man & being made for this while “In That Mode” compares himself to a punk rockstar, cautioning that you don’t want smoke with him.

We have some cool sampling chops for the couple minutes “Never Had I” has to offer talking about focusing on stacking his cheddar & keeping his head to when his homie died since it always gets better while the rage-inducing “Brick Brick” confidently assures he’ll be fine. “Party Rock” produced by Synthetic could easily be my favorite track here dismissing a female calling him her Romeo while the closer “Code Red” talks about not coming to fuck around.

In no way am I trying to discredit Rich Amiri’s passion to expand by taking a different approach to Grit & Grace as well as taking heavy inspiration from one of my top 10 producers of all-time Ye or formerly Kanye West regardless of having to take a step back from the fandom because of his inexcusable behavior during the first half of the year, but I didn’t enjoy it as much as Evolution & Ghetto Fabulous or even War Ready mostly because the production isn’t as interesting.

Score: 3/5

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Jason Martin – “A Hit Dog Gonna Holla” review

Compton, California emcee, songwriter & producer Jason Martin reuniting with Mike & Keys for his 4th EP. Originally known as Problem, he would go on to release over a dozen mixtapes as well as 4 full-length studio albums & a couple EPs. I can’t forget to mention both collaborative efforts DJ Quik, the first being Rosecrans back in 2017 & the follow-up Chupacabra days before Kendrick Lamar’s now historic 1-off Pop Out concert at the Kia Forum. Almost a whole year since Repack, they’re reuniting so A Hit Dog Gon Holla.

After the “Guns & Sandwiches” intro, “Let Me Roll My J” chops up a soul sample talking about looking to party until the sunrise whereas “Things You Learn While on the Grind” soulfully reflects on what he’s learned since hustling. “Docusign” gives off a drumless chipmunk soul vibe talking about not tripping over any obstacles while “Flu Game Jordan” continues to strip the drums so he can progress through extortion.

“We Know the Truth” continued with a hazy boom bap route talking about hearing nonstop cap spewing out these muhfuckas mouths while “Tee’d” drumlessly reminds us that everything comes with a fee instead of simply being granted to us. “Laugh Now Laugh Later” talks about how everybody be lying but after the “Goofy” skit, “Thang’s Just Ain’t the Same for Gangsters” calls back to “The Watcher”by Dr. Dre & sends off the EP being “Above the Noise”.

There was a lot of mixed reception towards the Repack last fall because of all the features on it & I’m pretty sure Jason Martin heard those criticisms since he takes up all of A Hit Dog’s Gonna Holla’s vocal performances by himself & results in an extended play that I prefer a lot more than the last 1 we got from him. Mike & Keys’ production returns to a traditional west coast sound coming off Tony Shhnow’s 8th album Self Portrait last month & Jason singlehandedly silences those who thought he had become reliant towards guests.

Score: 4.5/5

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Charles Lloyd – “Figure in Blue” review

Charles Lloyd is an 87 year old tenor saxophonist & flautist from Memphis, Tennessee with over 2 dozen full-lengths under his belt already since the late 50s. He has spent the last decade with my favorite jazz label of all-time Blue Note Records dropping exemplary late career material that includes I Long to See You as well as Tone Poem & The Sky Will Still Be There Tomorrow. However, he’s following up the latter with his 32nd full-length comprised of 2 discs containing 7 songs each.

“Abide with Me” begins with this calming intro working in a saxophone & Jason Moran playing piano whereas “Hina Hanta, The Way of Peace” moves forward by delivering a nearly 8 minute post-bop composition keeping the keys & sax in tact. “Figure in Blue, Memories of Duke” remembers the late Duke Ellington letting Jason shine more instrumentally just before “Desolation Sound” lets Charles take the spotlight with his saxophone once more.

Meanwhile on “Ruminations”, we have guitarist Marvin Sewell accompanying Charles Lloyd & Jason Moran for 10 & a half more minutes of peacefully improvisational post-bop leading into “Chulahoma” focusing more around the saxophone & guitar. Reaching the halfway point, “Song My Lady Sings” brings all 3 instrumentalists together for a serene 8 & a half minute post-bop jam while “The Ghost of Lady Day” starts the 2nd act with a Billie Holiday rendition.

“Blues for Langston” gives his flowers to the late Langston Hughes” until we’re treated to a couplet of Duke Ellington covers: “Heaven” & “Black Butterfly”. The song “Ancient Rain” takes up 111 seconds with a tenor saxophone while “Hymn to the Mother, for Zakir” takes a moment to remember the late Zakir Hussain. The closer “Somewhere” finishes Figure in Blue with Charles & Jason playing piano & tenor sax for the LP’s final 4 & a half minutes.

Spaciously travels wide expanses of musical terrain from beautiful ballads to raw Delta blues, the 4th full-length Charles Lloyd has created since signing to Blue Note Records could be the most heartfelt entry in his entire discography reflecting everything that’s defined his entire life. Combining original & re-recorded material for an autumnal double album, he salutes those who inspired him over 6 decades ago with an hour & a half long memoir.

Score: 3.5/5

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Pradabagshawty – “Red Flags & Roses” review

Columbia, South Carolina born albeit Atlanta, Georgia up-&-comer Pradabagshawty back with his 2nd mixtape. Introducing himself in the spring of 2023 off Bloxk Addiktion, his popularity within the plugg subgenre of trap continued to grow last year by putting out 3 more EPs in 1 Love as well as the Cegular Records/Sony Music debut 10 Freak Ho’s and of course Forever & After. His most recent extended play B What You B & the Home Invasions tape have both become his most popular musical statements so far, returning 5 months since the latter to drop Red Flags & Roses.

“Right 1” kicks off the tape by flexing over a cloudy trap instrumental from Whyceg that his Off-White fit got him feeling like the Pope whereas the pluggy “100 Months” talks about pulling dead people out the bank on the daily. “Good Times” brings some synths & hi-hats together to drop the dub the second he pulls up at the mall while “No Hulu” featuring ImSoMarcus talks about delusional women.

As for the Four3va co-produced “Bloodhound”, we have Pradabagshawty getting back on a plugg vibe to admit that he feels like he done lost his mind leading into the chilled out “Marni” produced by mxrt4lity & SOULJASPIRITS talking about lifestyle for a couple minutes. “Perky Nap” featuring Babystaydown finds the 2 speaking of the percocets knocking them out over a Dstarkel beat just before “Houdini” starts the 2nd half talking about doing too much drugs.

“Whoa” observes the handful of artists who’ve been biting his swag & riding his wave while he stays chopping shit up but once “Striker Box” featuring Ealuhri telling the hoes they can’t love them forever because of their hearts being frozen, Trgc has a standout beat of his own with the single “Raincoat” talks about blowing shit up since his Glock stays fully loaded keeping an ARP inside his coat whenever it’s pouring outside.

Nearing the end of Red Flags & Roses, “Figure It Aht” despite the plugg instrumental feels a lot more like a Baby Auto song since he’s handling the sole verse by himself talking about a bitch wanting to say with him for a while while “Ready 4 Love” defensibly talks about being on a newer level this whole entire year. “Hold Hand” finishes up the tape with a 2-parter & “From the Start” featuring Babystaydown starts the deluxe run talking about seeing the shots coming their way prior to hitting back.

“Judo” heads further down a pluggier direction explaining that things in his life have been more steadier than smoother while “Think He Slime” talks about an individual who‘s convinced himself that he’s part of the gang when he really ain’t. “Dat Fllaattt” featuring ImSoMarcus cloudily sees the pair getting materialistic while “Yaaan” talks about still being the same young muhfuckas. The self-produced “Franklin” takes inspiration from plugg again poppin’ out the block if he’s betrayed & the final bonus track “Help” ends with a confessional approach to songwriting.

5SOULJAS earlier this summer felt like a batch of mostly average leftovers from the Home Invasions sessions hence why I wasn’t that much in a hurry to break it down a few months ago with all due respect to SOULJASPIRITS especially since I prefer his sole contribution to Red Flags & Roses, but the newest entry in Pradabagshawty’s discography makes another example as to why he’s become one of the most interesting names in the plugg/gangsta rap styles to be paying attention to with stronger production & a similarly decent list of guests.

Score: 4/5

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Niko B – “Cheerleader” review

Newport Pagnell, Buckinghamshire, England, United Kingdom recording artist Niko B following up his most recent EP earlier this spring with a debut mixtape of his own. Starting at the very beginning of this current decade off the strength of his debut single “Marry Berry”, his popularity began to grow exponentially a few months later after putting out his next single “Who’s That What’s That” & the full-length debut album dog eat dog food world last spring being well received enough where it was being recommended to me. people took a more optimistic approach altogether & only a couple months later, we’re finally getting Cheerleader.

“Beginner’s Luck” comes right out the gate with it’s best song from the cloudy New York Drill instrumental from Evilgiane to the hunger in Niko’s performances whereas the trap, grime & UK drill single “mongoose” talks about taking dustcaps almost 2 decades ago. The EDM-inspired “Shoebox” flexes that he’ll run figures with his shoes off leading into “Spawn Trap” talking about not knowing the party he’s in spending 40 on drinks.

Moving on from there, “X-Factor” has a cloudy UK drill vibe to it boasting that he’s the word around his city nowadays while my favorite collaboration “Bolbeck” featuring RealYungPhil turning dust into diamonds. “Polka Dot” instrumentally feels reminiscent of The Neptunes talking about talking about walking with patches on his knees just before “Sellit!” produced by Kwes. steps out of a Civic on Westbound dabbling with jerk.

“Ringing a Bell?” advises to check his wrist if anybody wants to know what he’s been on for the past 17 months & after the boldly boastful “Stunt Jump” experiments with rage for 85 seconds, “Take 5” featuring S5 pulls out more surprises with a fun regalia track. “Pop World” featuring Dimzy atmospherically celebrates their individual successes while “Hermes Stock” describes making 40 bands in a burglary. “They Could Fly” finishes with a glitch hop outro giving the listeners a special thank you.

Eschewing the pop rap & hip house influences of the people EP earlier this summer, Cheerleader is similar to dog eat dog food world from the standpoint of Niko B broadening his artistic palette ahead of a sophomore effort presumably coming next the year. His performances are fun as is the trap, UK drill, new jazz, cloud rap, New York Drill, jerk, rage, glitch hop & regalia production except the brevity of it makes it feel more like an extended play rather than mixtape.

Score: 3.5/5

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13° – “Black Fridayz” review

Chicago, Illinois rapper 13° making his full-length studio debut. Starting out a couple years ago off his first couple mixtapes Urban Junkie & Metropolitan respectively, he would go on to follow both of those up with Uptown Dropout as well as Clique City & it’s sequel. His debut EP Cyber Sundayz a little over a couple months ago caught the attention of Island Records, who recently signed the Chi-Town up-&-comer to make a wider exposure on Black Fridayz.

“Intercontinental” was a boisterous trap intro advising that anyone who doesn’t give a fuck about up should from hereon out whereas “Rooftopz” hooks up some synthesizers to talk about the love this woman is giving him makes him feel right at home. The title track lets everyone in on exactly how chaotic his mind can be just before “Fake Killa” talks about nobody saving him if he goes the wrong way.

Pop rap, trap & future bass all collide during the single “Champain” feeling like a king when he steps in the room while “Lil Mama” encourages the apple of his eye to put on the dress he got her & get geeked. “Chiraq Child” featuring lil2posh finds the pair coming together to talk about growing up in the Windy City leading into the standout “Palace” produced by BNYX of Working on Dying flexing his current status.

“Spike Snapback” starts the final leg of Black Fridayz by keeping a firm grip on the gas pedal while “I’m Turnt” psychedelically talks about his life being lit these days. “Exotic Strippaz” throws it back to the Clique City era while “Ghetto Hipster” talks about being fashionable & hood at the same time. The closer “Drive Safe” finishes 13’s debut pleading to stop telling him to be patient when he’s losing patience.

Allegedly his final hip hop project, it’s hard for me to say what’s next for 13° but what I can tell you is that Black Fridayz maintains the trap/pop rap fusions that made Clique City 2 so special & turns it up to 11 now that he’s got Island Records supporting him. The production feels modern & nostalgic at the same time, taking up the half hour of his major label debut to reach a wider crowd using distinctive flows.

Score: 3.5/5

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