Here we have the 4th studio LP from Atlanta, Georgia rapper Latto. Winning the very first season of The Rap Game & eventually turned down a deal with So So Def Recordings because it wasn’t enough money, she eventually broke through a few summers back after signing to RCA Records & putting out a decent full-length debut Queen of da Souf. The sophomore effort 777 in 2022 sure enough won me over & her previous album Sugar Honey Iced Tea a couple years earlier was alright, welcoming this era of her career as the Big Mama with open arms
“Business & Personal” produced by Coupe & Pooh Beatz begins talking about motherhood slowing nothing down but the horsepower but once “Get Money Girl” recalls people initially thinking she wasn’t serious regarding her music career until declining the So So Def contract, “G.O.M.F. (Get Out My Face)” featuring Glorilla samples “Yahhh by Soulja Boy & Arab for a crunk single individually addressing some rumors that’ve been made about them.
Former PWG World Champion, 2-time WWE world champion & the longest reigning WWE Intercontinental Champion Gunther retiring 17-time WWE world champion, WWE Intercontinental Champion, 5-time WWE United States Champion & 4-time WWE tag team champion John Cena by gets referenced on “Chrome Heart Diaper Bag” once again talking about becoming a mother just before “Okayyy” featuring Doja Cat unites for a passable pop rap single.
“Hostage” featuring the father of her child 21 Savage disses Washington Wizards point guard Trae Young for some reason sampling “For the Love of You” by The Isley Brothers prior to “Death Row” talking about real bitches staying 10 toes down. “Onnat” flips “Kryptonite (I’m On It)” by the Purple Ribbon All-Stars discussing the typa shit she’s on lately while “Gimme Dat” ends the 1st half of Big Mama taking a jab at Cardi B after their Twitter spat back in October.
We have “Fallin’” kicking off the 2nd leg of the album opening up more regarding her relationship with 21 while “Need Luv 2” featuring Sexyy Red finds the 2 talking about gangsta bitches needing love as much as the male Gs do. “Make Me” featuring Mariah the Scientist blends alternative R&B & pop rap for a duet where they’re telling their respective partners to make them shut up while “Naked” continues the lustful themes talking about wanting to see the real 21.
“Anxious” featuring Wizkid takes inspiration from Afrobeats asking their lovers if their hearts ever skip a beat when they’re with both artists while “4L” talks about 21 Savage helping her get out of her comfort zone. After the “Daddy’s Little Girl” interlude details her upbringings, “Mama” featuring Jelly Roll links up for an ode to Latto’s mother while “Somebody” concludes with an interpolation of “Are You That Somebody?” by the late Aaliyah over a sample of “Give It to Me Baby” by the late Rick James.
I truly couldn’t tell you if this will be the last we’ll ever heard from Latto musically especially since she later admitted that her retirement was fueled by post-partum depression, but she still hasn’t topped 777 & would consider Big Mama to be a mild note to end on if she’s really done. The production mostly handled by Coupe & Pooh Beatz was an improvement over Sugar Honey Ice Tea’s, although the subject matter from the main artist & the guests themselves are mostly average outside of some profound moments.
Brand new solo LP & the 5th overall from New Orleans rapper, producer & deejay $crim of the $uicideboy$. The first of the boy$ to branch out on his own by dropping the solo debut A Man Rose to the Dead during the COVID-19 pandemic to mixed-to-negative reception including from myself. Lonely Boy was a solid introduction to $crim’s alter-ego even though you can tell it was inspired by Destroy Lonely’s debut album If Looks Could Kill & the sequelLonely Boy 2 was more of a thank you, coming off Via Crucis for the 3-hour Runaway.
“a nightmare worth pursuing” produced by both $crim & G*59 Record$ in-house producer Dynox begins with Budd Dwyer asking God gives him a peace of mind prior to “claymore” admitting that he’s feeling dead as of late & pouring a bottle up for the shit he bottles up now. “is this really it?” poses the question whether or not there truly is an afterlife when we all die or if it’s lights out while “fort wayne” talks about getting psyched the fuck out.
We have $crim dropping a single verse for “deus vult” preceding an instrumental break & a spoken word outro sampling “Small Café” by the late Leon Ware leading into “broken boy” talking about his struggles with mental health from overdosing on pills to possibly shooting himself as part of suicidal ideation. “range (i don’t show it)” confesses to him waiting all evening got a woman he’s infatuated with just before “bleak midwinter” talks about having no one to call, hence the Lonely Boy nickname.
“if life was fair, ducks would have shotguns” asks if one has ever been killed in a mosh pit & boasting that he’s more eastbound than Danny McBride while “2ndworldvagrant” suggests for everyone to stay the fuck away from him. “country boy” hits us with a freestyle talking about the Devil picking the wrong person to tempt & not being with the drama while “unbelief” confesses to being numb after his grandfather passed as a teenager.
Dynox gets behind the boards once again for “blood knife” asking God to have mercy on a sinner like him while “clairaudience” talks about the nights growing longer & the days becoming shorter, suggesting the reaper’s close if he isn’t here already. “dead eyes ent” likens him & his brother $lim Gucci to the inaugural 4th Rope World Tag Team Champions & current 2-time HoG Tag Team Champions The Hardy Boyz while “broken vessels” addresses the children who only know goodbyes.
“moments of nothing & bridges to nowhere” asks himself if anyone would ever noticed if something were to happen to him when I’m sure the G*59 fanbase would while “calabasas” issues a response to the people who claim he doesn’t act Christian, claiming he found God in the middle of a smokey meeting. “tears of war” references his squad’s health & wellness coach Jewel Scott while “get behind me, Satan!” talks about the way he be swervin’ the coupe.
Things make a turn for bombastic territory during “north like korea” looking to shake up the entire block by staying where the schemes are at while “american spirits” flips “Right My Wrongs” by Bryson Tiller talking about the voices in his head that won’t go away until his time comes. “jose alvarado” aims to walk more people down than the New York Knicks’ point guard of the same name while “maybe you’re right…” co-produced by ReidMD of Internet Money Records & Vanguard Music Group talks about him going from his mother kicking him out the house to being a millionaire.
“cortisol” for being Runaway’s only single didn’t really make me any more or less excited for it regardless of him describing the stress hormones taking over while “the narrow door” samples “Changes” by Black Sabbath talking about counting his nights after wasting half his life. “weep for me, for i whither away” explains that his road’s already been chosen & being too far gone to return while “nightmare on the northside 4” continues the saga containing 5 different musical sections of it’s own.
My 2nd favorite Ye single “Runaway” gets interpolated on “trackstar” to end the 1st leg of the full-length realizing there’s no escaping nothing no matter where he goes while “another man” confronts a woman demanding to know whether or not she’d still love him if he was a regular guy. “heaven 4 a fiend” shows optimism regarding there possibly being a paradise for drug addicts while “freestyle courtesy of trauma” has a more cutthroat approach in terms of lyrics & delivery.
“hourglasses” gives the world a glimpse inside of his diary instead of chasing for hits & others being completely unaware that he’s terrified in the inside while “i don’t go outside anymore” talks about being alone in his room convinced that he’s unworthy of healing. “silent floods” admits to the fear he has of losing his life & crying when he’s driving by himself while “color me dead” talks about none of these pussies wanting smoke with his team.
The soul sample Wetto chops up “for the love of the game” was pretty impressive boasting that he’s already popped off more than he could count while “bleeding ghosts” tried to figure out how some people perceive him. “widow voice note 48” splits itself in 2 separate halves admitting that he hates the life he has as much as his own family does & becoming a dad himself while “screw tape letters” suggests for his girl to backstab him in the chest if that’s what she intends to do.
“baptized in ash” talks about him never giving any fucks over the course of his career & demanding for all the sick pedophiles in the world to be executed while “wojak” interestingly flips “Bossier City Kidnap Victims” firmly confident of these lame ass dudes eventually phasing out because they don’t phase him even a little. “skrt cobain” comes through with another 2-parter detailing what he would say was amongst the loneliest days of his life while “saint maximilian kolbe” talks about consuming 20 pills.
One of the more melodic moments easily has to be “lest i die because of her” encouraging a woman he’s been interacting with to stop doubting herself & for all the fuckboys to hit the bricks while the “starlight freestyle” cloudily talks about having to play his cards right. “lord, i’m tired” much like “broken boy” contemplates suicide except he’s asking for God to take the pain away while “dirty realism” calling for those who’re truly about it to raise their guns up.
“sans deur” discusses his murderous tendencies & every day growing colder than the winter while the rage-inducing “bust down keanu reeves” tries to figure out what everyone else be talking about exactly. “a mother’s burden” assures a woman whose face is painted with regret that he’ll literally starve to death for her while “is it worse to live as a monster or die a good man?” pleads for this person to make a reservation for their expectations.
There’s a bit of an emo influence to “comfortably numb”, singing over a guitar about getting an individual to no longer hurt him again since he feels the need for a companion while “swan song” raps of him being forever trapped inside of the hero they demand. “credo” flexes that his girl won’t ever need a full-time job unlike some of these other rappers while “millionaires vow of poverty” talks about hustling for the fuck of it & disassociating because of life feeling like a trance.
“narco melody” finally winds down the last moments of Runaway asking why he feels alone & broken preceding the urges of taking his own life getting to him not too long following a beat switch while “memento mori” talks about his entire body itching from the drugs he’s been sippin’ along with losing what little pieces left of me with each day passing. “all death is certain” takes up the last 3 minutes hopping over a bare guitar to discuss life constantly breaking down.
Since 2018 already, I’ve primarily been positive whenever reviewing the $uicideboy$ & G*59 as a label other than an exception or maybe 2. That said: I do think Runaway has more enjoyable moments rooted in trap, emo rap, Christian hip hop, rage & bounce than A Man Rose to the Dead even if I’d have to say it’s the 2nd weakest entry in $crim’s solo catalog. Putting aside the fact that it’s 59 tracks as a nod to G*59, I would’ve enjoyed the album A LOT more if the amount of filler wasn’t a giant elephant in the room
This is the 3rd studio LP from Detroit, Michigan emcee Courtney Bell. Dropping his full-length debut 10 Commandments in 2018 followed by the debut mixtape Poverty Stricken a couple years later, he would later be taken under the mentorship of Royce da 5’9” & his 2024 sophomore effort Microdose under MNRK Music Group provided a new perspective after he overcame his own mental health struggles. Celebrating its anniversary a couple weeks earlier, he’s realizing It Gets Greater Later prior to the month of May ending.
“Wounded Healer (Book of Eli)” begins with this soulfully drumless intro clocking in at 2 & a half minutes talking about turning his verses into gospel whereas “Stumble” reminds the world that every single one of us are flawed. “He Don’t Know” leans more towards a pop rap vibe telling this woman that her man has no idea how to treat her just before talking about “Everyday” being the same shit, scheming only so he can get by.
Meanwhile on “Virgil”, we have Courtney over a jazzier Detroit sound promising that he ain’t ever going back to the hood when he checks out to life the rest of his days while “Guard My Temple” blends some horns & bells talking about being fed up with acting like he ain’t the one they’re copying. “ISO” continues the trap instrumentation cautioning that he’ll leave someone on a stretcher if his trigger finger gets itchy while “Bang” featuring Benny the Butcher rehashes a Microdose highlight for whatever reason.
“Problems” turns up the soulfulness discussing the fact everyone has their own respective issues that they’re dealing with while “Costly” featuring Nick Grant unites over a jazzy boom bap beat talking about how if they ain’t done it, they’ve seen it. “Hope You Understand” produced by Haas Almahdi confesses him finding God after a period in time where he almost didn’t make it & “Thank You” concludes It Gets Greater Later talking about the grieving he’s been doing.
2 years since his MNRK debut, Courtney Bell’s return conceptually bases itself around delayed gratification & suggesting that we should instead put faith above timing. Basically when he says It Gets Greater Later, it really does. The production varies between boom bap, jazz rap, drumless, trap & Detroit trap telling us that God sometimes hides the reward until the soul’s ready to carry it & most of the guest appearances doing the hooks aside from a couple.
Brand new LP & the 4th overall from Maywood, California recording artist Peysoh. Introducing himself 4 years ago already with the debut single “6 Block”, he would later sign to EMPIRE Distribution for his full-length debut Ghetto Journal at the beginning of 2022 in addition to a sophomore effort Get Rich or Life Sliding the next summer.Peysoh Did It following an appearance on Kendrick Lamar’s 6th album GNX was great although FinallyFed proved to be disappointingly mediocre, returning for a description of his experiences as a BastardChild only 24 hours away from Rey Fénix ending the Laredo Kid’s 2nd reign as AAA Mundial Crucero Campeon to become a 2-time champion himself as well as El Hijo Del Vikingo ending El Hijo de Dr. Wagner Jr.’s reign as AAA Latinamericano Campeon & former 3-time WWE tag team champions The War Raiders becoming the new AAA Mundial Parejas Campeons at Noches de Los Grandes.
“EvilEastSide” opens with this 97 second intro spittin’ gangsta raps over a g-funk instrumental whereas the title track talks about his self-awareness of living wrong in a previous life. “Star” featuring Lefty Gunplay finds the 2 linking up to discuss having to be in court the next morning, but then “GangTats” featuring Blueface made for one of the weaker collaborations on here despite it’s bouncy beat although Peysoh had the better performances.
The Game makes up for it by appearing on “Don’t Play At All” talking about how neither of them fuck around & embracing a more nervous vibe instrumentally leading into “GunSmoke” tapping back into the gangsta rap side of things lyrically & bringing back the g-funk elements. “Retail” kicks off the 2nd half of the full-length speaks of mixing the peach smell with smoking dead opps while “Conejos” talks about the gangsta lifestyle once more.
“I Ain’t Trippen” featuring Young Aktive decently brings both artists together not sweatin’ over the envious trying to kill them while “I’m Worse” incorporates elements of nervous music to once more talking about being quick to bust shots unlike these other rappers. “- 1 Opp” featuring MemoTheMafioso joins forces to each drop verses over a nervous piano beat & the main artist coming out on top but after “HatedBeinBroke” reflects on his hardships, the outro “Hairs Gettin’ White” featuring Mozzy ends on a pleasantly atmospheric note.
A huge reason that I felt like FinallyFed was a letdown mainly boiled down to the excessive guest appearances & I give Peysoh his props for diminishing the amount of them during the BastardChild sessions even if only half stood out. Not to say I don’t believe this was an improvement over it’s predecessor last summer because it very much is whether it’s the nervous/g-funk production or the Maywood allowing more room for himself to grow.
Here is the brand new extended play & the 10th in his discography overall from South Bronx, New York emcee Seth Narley. Dropping his debut EP 5am on Crosby in 2019, he would later follow it up by putting out the Trissland trilogy & drop 3 more EPs in 2024: Night at the Roxy, A Millbrook Story & S.A.L.Y. (Still Ain’t Lie Yet). Coming off both The American Dream: Son of a Dealer & Oceans: Mondrian however, he’s copping Prada Cups in the South of France.
“Jordan on the Baseline” begins with a soulfully jazzy opener clocking at 109 seconds likening himself to my favorite basketball player of all-time whereas “$2K on the Knicks” chops up a gospel sample to talk about betting for his home team in the NBA Playoffs & not trippin’ live it because of his bias instinct. “Unplugged from Marsielle” kicks off the 2nd half of the EP admitting his brother took his own life over a drumless loop while “Celia Cruz & Gloria Estefan” ends on a jazzier note talking about being worth $1M.
Only a few days after getting to see Adam Copeland & Christian Cage end FTR’s record-tying 3rd reign as AEW World Tag Team Champions in person at Double or Nothing VIII this past weekend surpassing All Out III as the best PPV the company has ever put on, Seth Narley begins summer a few weeks early by coasting over a bunch of drumless sampling techniques Creestal has to offer ranging from jazz to soul music reminding us of the symbolism Luna Rossa’s commissioned sneakers have over in Marseille.
Mr. Y.U.G. is a 46 year old MC from Detroit, Michigan who would join his older brother The R.O.C. in becoming members of the Level Jumpers & The Howse respectively. He would eventually make his solo debut in the spring of 2009 with Weightin’, which he followed up with the sophomore effort Warning Shot as well as 18 Shots & Kill Flows. My favorite of his #48205Defcode came out in 2016 under Anybody Killa’s label Native World Inc. & ahead of next summer making it an entire decade since Thriller, he’s returning to music for his 7th studio LP.
“Introduce Yo Self” begins with an 85 second trap intro explaining that he’s gonna be talking on these tracks again because nobody’s paying him whereas “Keep Checking My Pockets (To Be Continued???)” gives off a more energetic vibe regardless of the uncredited feature taking up the 1st half of it. The title track goes for more of a boom bap vibe instrumentally & a hardcore approach to the lyrics just before “DOMoxic” dedicates itself to anyone who’s ever been in domestically toxic relationship over some guitars.
We have the “Eastside Shooter” freestyle ending the 1st half of Y.U.G.’s return getting on his gangsta rap shit topically over another boom bap beat while “Yesteryearz” kicks off the 2nd leg with a highlight telling us the origin story of Ragz dating back to 1989. “Yicked” continues talking about having people snitching on his name leading into “Can’t Feel My Face” embracing a jazzier sound for all the stoners out there who like to get high.
“Party Life” begins to wind down the final act of UnAmerica takes it back to the boom bap sound with an eerie twist talking about him hitting the club on a Tuesday night & once “Miss at U” featuring Carli “La Moure” hits us with what’s mainly a spoken word piece essentially recapping Mr. Y.U.G.’s entire life story additionally addressing the people who want to bring the bad side out of him out again when no one wants it, “MC Stick Faygo Flow / Knock Dat Shit Off” sends off the full-length with an interesting 2-parter.
Only a month after The Raps On Contact’s 4th album No Direction under Majik Ninja Entertainment made his return almost a decade after Digitial Voodoo excluding the 2019 extended play Monsters Ain’t Real & fellow Native World alumni Bake Lo refining himself with Spirals, The R.O.C.’s younger brother M.oney R.olls Y.oung U.known G.angsta’s own comeback could very well be a personal one considering how much heavy inspiration it takes from his autistic 4 year old son landing right behind #48205Defcode & is said to already be working on another album of his own by the end of the year called Park of Lyrics. Some criticisms I have being the feature on the 2nd track nor any of the producers being credited & the AI artwork.
The Kottonmouth Kings are a Placentia, California rip hop outfit now consisting of D-Loc, Chucky Chuck, Judge D & The Taxman. The original marquee act of Suburban Noize Records, their full-length debut Royal Highness distributed by Capitol Records was easily the rawest entry of their discography & the sophomore effort High Society embraced a more futuristic soundpreceding Hidden Stash II: The Kream of the Krop & Rollin’ Stoned stylistically bringing KMK to their own. The last time we heard these guys as a group was when the late Saint Dog & Johnny Richter got with Loc for their 14th album Kingdom Come on 4/20 2018, excluding 25 to Life which is essentially D-Loc’s 3rd solo album. To celebrate 3 decades since their formation however, they’re signing to Virgin Music for a brand new extended play of material.
“Red Eye” produced by Mike Kumagai thunderously begins talking about people everywhere knowing the Kings got the best flow whereas the title track goes for more of a reggae vibe to discuss Americans struggling these past 16 months. “Break the Chains” shifts towards punkier territory talking about rebelling against the system & once “Move Along” encourages all to overcome the odds, “Raise Up” finishes off with a celebratory heater.
I recently got to see the Kottonmouth Kings live the day before Mother’s Day earlier this month since both Motown Rage & Kung Fu Vampire opened for them, but this new lineup’s inaugural collection of music was what 25 to Life should’ve been & makes me more optimistic of where things will go for them hereon out. It’ll be a delightful surprise for fans to hear Kumagai reuniting behind the boards & taking it back to the rip hop sound he helped perfect almost a quarter of a century earlier, mixing political rebellion & stoner raps they’ve become synonymous with.
Basildon, Essex, England, United Kingdom recording artist & producer fakemink is back with his full-length studio debut. Introducing himself in 2021 off his debut EP Dog Heater, he would go on to drop 7 more extended plays in 90,900, Real Hospitality, London’s Saviour, Wild One, Furever, Disco Biscuit & Galaxy Pavillion Club until getting co-signs from music’s biggest names like André 3000 & Clipse. “Music & Me” would also become one of my favorite singles of 2025, coming off The Boy Who Cried Terrified almost 4 months earlier to serve the main course.
After the titular intro, the noisily self-produced “All Eyes on Me” talks about killing shit because it’s what he must do whereas “Playlist” gives off a more hypnotic vibe instrumentally detailing an innocent angel becoming a whore. “Creep” talks about him moving slowly & putting in work so he can spend all the money he makes while “Like a Virgin” reminds everyone that he’s been getting paid since the 9090gate phase of his career.
“51 Ttashpel Pony Ave.” after the “Jungle-Affair” interlude has a more tone in terms of lyrics sampling “Now” by Julia Wolf to talk about others making paper for his future children’s sake & other never seeing large amounts of cash in their lives while “Hard Candy” details him being allergic to broke shit. “Rewind” ends the 1st half wanting this woman to recognize that she’s his while “Essex Girls” talks about showing a woman what real affection is.
Pop rap, electropop, hip house, euro house & electro hop all collide on the single “Night, Blooming Jasmine” discussing that his objective has now become waking up daily & living his life now that he’s rich & famous while “Wrong Relief” talks about staying lit after setting himself on fire. “Kiss of Death” after the “Fire on Ice” interlude boasts that he bagged the baddest bitch alive while “Creed” talks about the pain that comes with the life he chose.
“Tell Me What You’re Missing” begins the final moments of Terrified asking his lover to let him know what she misses regarding her old life while “Forget Me Not” talks about him winning because he didn’t listen to what everyone else has told him. The final song “Rétard Angel” preceding the “Etna” outro finishes the LP advising not to let his wealth fool anything into thinking that he’s lucky when it’s the complete opposite the way he looks at it.
Taking more inspiration from 2018-2020 drill as opposed to grime music, fakemink’s debut album was conceived as this crude caricature of Los Angeles after returning home to London after a trip out to the west coast & lands behind the London’s Saviour EP for his 2nd best opus. His cloudy production includes elements of jerk, witch house, experimental hip hop & ambient music to lesser extents for a creepy California noir where models try to steal your soul & vampires drive Wraiths down Hollywood Boulevard.
The Blog Era Boyz are a superduo consisting of Cleveland, Ohio rapper, singer/songwriter, musician & actor MGK alongside Pittsburgh, Pennsylvania rapper, singer/songwriter, actor & entrepreneur Wiz Khalifa. Both of whom achieved their own individual levels of popularity during my adolescence even if I’ve always been more of a Wiz fan than MGK. However after initially crossing paths on “Mind of a Stoner” over a decade ago, they’re dropping an eponymous debut under Taylor Gang Entertainment & Interscope Records.
“family > everything” wasn’t all that exciting of a cloudy trap intro despite talking about catching Ws for the sake of those they love whereas “everything tatted” goes for a more boastful vibe expressing the love both of them have for tattoos. “MPH” finds the Blog Era Boyz trying to “rock out like it’s heavy metal” over this generically atmospheric beat until “fill my pockets” ruins a sample of “Scar Tissue” by the Red Hot Chili Peppers to end the 1st half.
Kicking off the 2nd leg, “girl next door” comes through with this corny pop rap anthem sampling “KKMJ” by Sweet Trip just before “stoned” produced by FNZ & Jim Jonsin sings & raps about smoking weed. “passport” finds the 2 moderately going back-&-forth with each other doing it better than “fill my pockets” but after “grind everyday” talks about hustling daily over a Sledgren beat, “fiberglass” finishes with both members addressing those who ain’t on their side.
I tend to look back at the blog era very fondly since I was an adolescence during that timeframe, but MGK & Wiz Khalifa aren’t necessarily the first people who come to mind when I think of that specific period. Maybe to some it’ll make better sense as to why they formed the Blog Era Boyz since both of them came up primarily rooted in the pop rap style, except I can actually take Wiz seriously unlike MGK & would call it almost as bad as genre: sadboy.
New York City emcee BVNGS has returned for her 9th extended play. Beginning over a decade ago off the strength of her debut EP Not Available, she would follow it up with 7 Dutches & a Sweet Tea, Brown Girls & Bubble Coats, Lula & Only Crying Because I’m Drunk respectively. 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 & was impressed by her set. Coming off Mary Mack & Twice a Day w/ Food however, she’s admitting to Only Crying Because I’m Drunk Too.
After the “Statistics Show” intro, the opening song “In Love Again” hooks up a soul sample to get things going talking about her falling for someone whereas “Crazy” embraces a smoother sound instrumentally describing the way this person drives her insane. “Opal” takes a more melodic approach in terms of delivery asking her lover if they’d write her if she was incarcerated while “Reaction” turns up the alternative R&B influences singing about trying to relax.
“Everything That You Do” following “Apple Pie (Bianco’s Interlude)” winds down the last leg of Only Crying Because I’m Drunk Too cavernously addressing someone in her life who makes her feel complete while the syrupy Me Too” gets in her R&B bag again singing about her lover’s body calling her. The outro “Delusional” takes up the EP’s final 135 seconds on an atmospherically alternative R&B note asking this person if she’s a loss to them or if they’d miss her.
Only Crying Because I’m Drunk still remains one of the most vulnerable entries throughout BVNGS’ whole discography, but this sequel takes it up a few notches in terms of vulnerability & capitalizes on her versatility taking more inspiration from R&B music although there are moments where she’s very much rapping. I appreciate Only Crying Because I’m Drunk Too for displaying her artistic range more coming off her appearance on the late Big L’s posthumous 5th & final album Harlem’s Finest: Return of the King.
