Danny Brown – “uknowhatimsayin¿” review

Danny Brown is a 38 year old rapper from Detroit, Michigan that got his start as a member of the Rese’vor Dogs in the mid-2000s. He would go onto form the Bruiser Brigade in 2010, dropping his debut album The Hybrid the same year. This resulted in him signing with Fool’s Gold Records & delivering a near perfect sophomore effort XXX the next year, which was followed up with Old in 2013 as well as his 2016 magnum opus & Warp Records debut Atrocity Exhibition. Fast forward 3 years later, he’s delivering his highly-anticipated 5th full-length album & has brought on Q-Tip to oversee it.

“Change Up” talks about never selling out over a hypnotic instrumental from longtime collaborator Paul White while the next track “Theme Song” is a dedication to the suckas over a gorgeously weapy strong sample. The song “Dirty Laundry” showcases his clever lyricism over an off-kilter instrumental from Q-Tip while the track “3 Tearz” with Run the Jewels gets careless over a psychedelic instrumental from JPEGMAFIA.

The song “Belly of the Beast” talks about drug use over a misty instrumental that later builds up as suspenseful near the end of the final verse while the track “Savage Nomad” talks about going at his competition over an Alchemist-inspired instrumental from Playa Haze.

“Best Life” talks about living good over a boom bap beat sampling Tommy McGee’s “To Make You Happy” while the title track talks about keeping it moving over a disco-esque instrumental. The song “Negro Spiritual” not only finds Danny charismatically showing off over a funky instrumental from Flying Lotus & Thundercat, but Peggy does the best Pharrell impression ever on the hook.

The penultimate track “Shine” talks about getting what’s his over a gargantuan boom bap beat & then the closer “Combat” with both Q-Tip & Consequence finds the 3 talking about how all 3 of them have come a long way over some jazzy horns.

While this obviously isn’t a masterpiece like Atrocity Exhibition, it’s still a fantastic album. It’s pretty much a more mature version of The Hybrid with grander production & you can really hear how much Danny’s pen game has stepped up since then.

Score: 4.5/5

Dr. Syntax – “Wallop” review

London, England, United Kingdom producer Pete Cannon handling the beats for Banbury, North Oxfordshire emcee Dr. Syntax’ 8th studio LP. Notable for co-fronting The Mouse Outfit, the latter made his solo debut Self Taught in 2003 followed by 5 more full-lengths along with a mixtape & 4 extended plays. Personal favorites include the Pitch 92-produced Evidence, Killer Combo!, Elaborate Anoraks & Let’s Talk. All of which Pete Cannon solely produced, so him coming back behind the boards for Wallop wasn’t too much of a shock.

“Fine” begins talking about being content with the way everything’s going over a boom bap instrumental whereas “Right About Now” featuring Joe Burn aggressively finds the pair getting impulsive on top of this UK drill beat. “Life Force” brings the kicks & snares back in effect suggesting those on the same vibe as him are either reading his thoughts or sharing his exact entity prior to “Classic in the Making” jazzily talking about the chemistry he & Pete have.

Illaman saves my favorite guest verse for “Differently”, discussing how both of them are unique beasts of their own category just before the dance-inspired “Body” kicks off the 2nd half making a bunch of references to the human anatomy for 109 seconds. “Mayhem” continues from there boasting jewels & a group of individuals wilding out for the night finding out the hard way while “Do What U Like” featuring Dubbul O talks about engaging in things that bring us joy.

“Somnambulant” featuring Riksi decently links up so they can get on their A-game & seizing the day regardless of whether it’s been good or bad while “Killah” goes for an EDM direction advising any opponent who wants to step up in a battle to improve their game considering that he’ll send muhfuckas back to school. The title track appropriately ties up all loose ends with a somber trap mood instrumentally talking about the impossibility of being unimpressed by what they’re doing.

Not only does Pete Cannon’s production feel varied throughout the half hour compared to what he & Dr. Syntax have previously done, but so does the subject matter & that’s an important factor in what makes Wallop a suitable experience regardless of the fact they’ve already given us 3 consecutive bangers over the course of 5 years. I however would disagree with putting Let’s Talk above it & the features occasionally stood out.

Score: 3.5/5

Joey Cool – “Old Habits Die Hard” review No

Joey Cool is a 33 year old rapper from Kansas City, Missouri that first gained attention as a long-time affiliate of local independent hip hop powerhouse Strange Music, releasing a total of 4 mixtapes & a studio album on his own before Tech N9ne decided to officially sign him to the Snake & Bat just about 2 years ago. He made his official Strange debut last May with his self-titled sophomore effort & as we approach the last quarter of this decade is coming around the corner, he’s back with his 3rd full-length album.

It all kicks off with “King Coolie”, which talks about his newfound success where some luxurious keyboards from Burna Music. The next song “Turn It Down” flexes over a dark beat from Leonard DStroy while the track “Pieces of Me” talks about being broken over a gloomy beat from MIKE SUMMERS a.k.a. 7. The title track talks about maturity over a downtempo electro beat while the song “I Got Dat” talks about the things he has over an atmospheric beat.

“‘Til Further Notice” with Krizz Kaliko sees the 2 claiming their spots to the throne over a grimy trap beat while the song “C.w.d.B. (Coolie wit da Bitches)” speaks for itself over a banger beat. After the “Put the Swank On It” interlude, the track “Come On” is a rowdy club banger while the song “Stop That” with King Iso sees the 2 going at studio gangsters over some twinkling bells & heavy bass.

The track “Decisions, Decisions” gets self-explanatory lyrically over a psychedelic beat Kato while the song “Remedial” with JL finds the 2 claiming themselves to be just that over a gritty instrumental. The track “Speak on It” with Emilio Rojas sees the 2 telling their naysayers to talk smack to their faces over a moody trap beat from Suli4Q while the song “Bye Now” is basically Joey saying he ain’t got tolerance for foolishness over a keyboard instrumental from Info Gates.

“I Can’t Remember” with UBI sees the 2 talking to this chick they thought they saw at the club the night before referencing 2-time WWE Hall of Famer, former 16-time WWE world champion, WWE Intercontinental Champion, 6-time WWE United States Champion, 6-time WWE tag team champion & 9-time NWA World’s Heavyweight Champion Ric Flair over a woozy instrumental while the song “Above Average” with Maez301 sees the 2 getting lavish over a blissful beat. The track “Throw It” with Godemis finds the 2 tossing dollars & getting laid over an abrasive beat while the song “Head Case” with Stevie Stone sees the 2 wanting all the smoke over a somber beat with some rubbery bass.

The track “You Ain’t Know” talks about being in the middle of the map over a cavernous beat while the song “Bet It All” with Tech N9ne, JL & Zoo gets celebratory over a hyphy beat. The album then finishes with “Violent Contradictions”, where Joey pours his heart out over some low ranged piano chords.

Personally, this is tied with the self-titled album as Joey’s best work yet. In contrast the previous album being a proper introduction to a wider audience, he comes off as more mature this time around & I really welcome & respect that of him.

Score: 3.5/5

Skyzoo – “Retropolitan” review

Skyzoo is a 36 year old MC from Brooklyn, New York that first gained attention in 2006 with his 9th Wonder debut album Cloud 9: The 3 Day High. This was followed up in 2009 with The Salvation & then the !llmind produced Live from the Tape Deck the following year. Then after taking 2011 off, he came back with his 3rd & final Duck Down album A Dream Deferred. Zoo would go on to form his own label First Generation Rich Inc. & make his debut on there with Music for My Friends in 2015. He would then drop the Apollo Brown produced The Easy Truth under Mello Music Group the following year, but would go back to dropping projects on FGR at the beginning of last year with In Celebration of Us. But almost 2 years later, he’s teaming up with MMG once again for his 8th full-length album & has enlisted the revered Pete Rock to produce it from front to back.

After the “Men Like Us” intro, we go into the first song “Glorious”. Where talks about how he’s just that over a boom bap beat with a soul sample & some horns. The track “Truck Jewels” with Pete sees the 2 getting fly over a woodwind infused instrumental & the song “Carry the Tradition” with Styles P lyrically needs no further explanation, but I really like the claps in the beat a lot.

The track “Homegrown” talks about keeping it just that over a funky instrumental while the song “It’s All Good” is a positivity anthem with an instrumental that was made during the illmatic sessions. The track “10 Days” finds Rich Porter talking to Azie over a euphoric instrumental while the song “Richie” is vice versa over a boom bap beat with some keyboards.

The track “Penny Jerseys” reflects on his block over the same sample that Gang Starr used for “The Planet” while the song “1 Time” finds Zoo paying homage to a number of things over a smooth beat. The penultimate track “Eastern Conference All-Stars” with eLZhi & Griselda Records is an triumphantly epic posse cut & then the album ends with “The Audacity of Dope”, where Sky comes through with a bar-fest over a soulful boom bap beat.

Personally, this is the man’s best work to date. You can really tell that he & Pete Rock took their time in crafting a near perfect love letter/wakeup call to NYC & a nonchalant chemistry.

Score: 4.5/5

Ameer Vann – “EMMANUEL” review

Ameer Vann is a 22 year old rapper from Houston, Texas who came up as one of the original members of the most beloved hip hop boyband of this decade: BROCKHAMPTON. He played a key-role in their SATURATION trilogy in 2017 but last spring, he was kicked out of the boyband for sexual misconduct allegations. I said this in my review of BROCKHAMPTON’s latest album GINGER & I’ll say it again right now, but his removal from the boyband was a decision that is still polarizing by many to this very day. Ameer completely disappeared after his dismissal, but now he’s coming out of the shadows with his 2nd EP.

It all kicks off with the title track, where Ameer vents about his inner demons over a rubbery bass-line from Cool & Dre of all people. The next song “Pop Trunk” compares & contrasts his past & present self over a generically cloudy trap beat while the track “Glock 19” gets violent over a syrupy instrumental. The song “Los Angeles” has a dark hip house beat from Hit-Boy that’s somewhat interesting, but the lyrics & the tone of Ameer’s voice sound like they come from a place of bitterness. You didn’t lose your friends to fame, you lost them because of your actions. The penultimate track “Sunday Night” talks about drug use over a comatose instrumental & then EP then finishes off with “Plastic”, which pretty much sounds like an unfinished demo.

And that’s the thing: For a comeback that a lot of people including myself were waiting for, the results are pretty lukewarm. It’s probably his darkest work yet granted, but it’s so 1-dimensional & monotonous. Even the beats that Cool & Dre and Hit-Boy bring to the table are just so basic, that it’s disappointing. If Ameer continues to make anymore music in the future, he can certainly do better than this.

Score: 3/5

JPEGMAFIA – “All My Heroes Are Cornballs” review

JPEGMAFIA is a 29 year old rapper & producer from Baltimore, Maryland that made his debut in 2016 with Black Ben Carson. A solid album at that, but it wouldn’t be until the beginning of 2018 where he dropped his critically acclaimed sophomore effort Veteran. Which I personally regret not reviewing when it first came out, because it truly revealed Peggy as a fresh new face in the experimental hip hop scene. But as we’re about to enter the final quarter of 2019, the man‘s hitting us with his 3rd full-length album.

The hilariously titled opener “Jesus Forgive Me, I’m a Thot” finds Peggy praying for a number of things over a somewhat cloudy instrumental while the next song “Kenan vs. Kel” finds him attacking his enemies over a dreamy beat that later has an abrasive switch-up. The track “Beta Male Strategies” is pretty much a jab at keyboard warriors over a psychedelic instrumental & after the trippy “JPEGMAFIA TYPE BEAT” interlude, the song “Grimy Waifu” talks about murder over a gorgeous acoustic instrumental.

The track “PTSD” talks about the titular mental disorder with a bar referring to WWE Hall of Famer, 7-time women’s champion & WWE Hardcore Champion Trish Stratus over an atmospheric yet glitchy beat while the song “Rap Grown Old & Die x No Child Left Behind” talks about a life cycle referencing KO-D無差別級チャンピオン, DDTエクストリームチャンピオン, 2-time PWG World Champion, 5-time PWG World Tag Team Champion, ROH World Television Champion, ROH World Tag Team Champion & NXT Champion Sami Zayn over a distorted boom bap beat. The title track finds him bragging over a spacious beat while the song “BBW” talks about his success over a mellow beat.

The track “PRONE!” finds Peggy talks about snitching a chaotic beat that switches into something more soothing for the outro while “Life’s Hard, Here’s a Song about Sorrel” is a 1 minute interlude where Peggy sings pretty beautifully.

The track “Thot Tactics” needs no further explanation over a meditative beat while the song “Free the Frail” talks about shit being outta his hands including a reference to former 7-time NWA World Tag Team Champion Chris Harris over an slow yet infectiously atmospheric beat. The track “Post Verified Lifestyle” continues to address his newfound fame over a dreamlike instrumental while the song “BasicBitchTearGas” is an awkward 1-minute cover of the iconic TLC joint “No Scrubs”.

The next track with Buzzy Lee is a decent remix of the “DOTS FREESTYLE” that Peggy did with Kenny Beats for The Cave. The “BUTTERMILK JESUS TYPE BEAT” is mostly this wavy interlude & then the album finishes off with “Papi I Missed You”, where Peggy talks about racism over a spacey beat.

This is easily the man’s best work to date. The production is more creative & Peggy shows his versatility a lot more on this one from his angry rapping to his catchy & melodic singing.

Score: 4.5/5

Conway the Machine – “Look What I Became” review

This is the sophomore album from Buffalo, New York emcee Conway the Machine. Who rose to stardom with his brother Westside Gunn & their label Griselda Records just a few years ago. Last we heard from Conway was in July when he dropped the song “Bang” with Eminem, which is the lead single to his upcoming Shady Records debut God Don’t Make Mistakes. And to prep us for it, he’s releasing Look What I Became independently.

The album kicks off with “No Women No Kids”, where Conway gets mafioso over a haunting Alchemist beat. The next song “Hawks” attacks his biters over an intoxicating instrumental & after the “RIP Owen” interlude, the song “Tito’s Back” is just pretty much Conway & Benny the Butcher showing off their chemistry over a Daringer beat with some eerie keyboards.

The track “Black Spoons” gets back on the mafioso tip over a demented DJ Muggs beat while the song “Vino D” with Dave East & Jim Jones pays tribute to Conway’s friend with the same name over a boom bap beat from JR Swiftz. The track “Half of It” talks about his success over an organ-inflicted trap beat from Rick Hyde & then after the “Bells Palsy” interlude, the closer “You Made It” pays tribute to his mother over a relaxing beat from Statik Selektah.

This is a fantastic prelude. Couple tracks I could’ve done without, but the beats are mostly grimy & Conway’s lyricism just keeps progressing with each new project he drops. Definitely looking forward to his major label debut coming soon.

Score: 4/5

Post Malone – “Hollywood’s Bleeding” review

This is the 3rd full-length album from New York born & Texas raised rapper, singer/songwriter & producer Post Malone. Who rose to stardom in 2015 with the single “White Iverson”, which landed on his subpar debut album stoney at the tail-end of 2016. He took the following year off, but his sophomore album beerbongs & bentleys last spring showed a little bit of improvement as the songs were a lot catchier than last time around. And a little over a year later, here we are.

The title track essentially finds Post going on about some woman over a dull instrumental while the next song “Saint-Tropez” is a by the numbers club banger. The track “Enemies” with DaBaby sees the 2 talking about people who’ve turned against them over a moody instrumental while the song “Allergic” is a trite & obnoxious ballad.

The track “1,000 Bad Times” talking about how crazy this chick is over an airy instrumental while the song “Circles” is a whiny attempt at going indie pop. The track “Die for Me” with Future talks about scandalous women with Halsey providing a terrible verse from the ladies’ perspectives at the end over a drab beat while the song “On the Road” with Meek Mill & Lil Baby finds the 3 bragging over a generically atmospheric beat wanting to be richer than Amazon founder Jeff Bezos.

The track “Take What You Want” with Travis Scott sees the 2 diving into more romantic melodrama & not only is the instrumental equally uneventful, but the hook from Black Sabbath frontman Ozzy Osbourne on here has to be one of the worst features I’ve heard all year. The song “I’m Gonna Be” is essentially the trap equivalent to Logic’s “Don’t Be Afraid to Be Different” minus the awful Will Smith verse while the track “Staring at the Sun” with SZA is an awkward duet about their past romances over an instrumental that’s blatantly similar to the playful “Sunflower” joint that he did with Swae Lee for Spider-Man: Into the Spider-Verse. And funny enough too, that’s the VERY next song on the album.

The track “Internet” is basically him moaning about the things people say about him online & the song “Goodbyes” talks about leaving a girl whereas Young Thug is talking about working it out with her over a bleak instrumental. The track “Myself” sounds like a total Tame Impala ripoff while the song “I Know” talks about how his love with this woman will never be duplicated over a skeletal instrumental. The torture finally ends with “Wow.”, which is a boring sequel to “Congratulations”.

I didn’t like this. Not even a little bit. With the last album I felt like Post actually came through with writing & delivering some catchy radio hits, but this feels WAY more cumbersome. Maybe even more so than stoney was almost 3 years ago. Another thing is too that it seems like him hopping on the emo rap bandwagon & failing miserably. By far the worst thing he’s done to date.

Score: 1.5/5

Ghostface Killah – “Ghostface Killahs” review

7670549 Ghostface Killah is a 49 year old MC that came up as a member of the almighty Wu-Tang Clan. He’s easily the most consistent member of the group with albums like Ironman, Supreme Clientele, FishScale, Apollo Kids, 12 Reasons to Die & Sour Soul just to name a few. He just dropped his Big Ghost Ltd. produced comeback The Lost Tapes about a year ago & to commemorate it, he’s teaming up with Danny Caiazzo to release his 15th album.

After the intro, we go into the first song “Me Denny & Daryl”. Where Ghost gets murderous with Method Man & Cappadonna over an instrumental with the vintage Wu-sound. The track “Burner to Burner” with Inspectah Deck & Cappa sees the 3 going at their competition over a grimy guitar lead while the song “Flex” speaks for itself over a mellow instrumental. After the “News Report” skit, the song “Conditioning” finds Ghost goes back at his competition over a flute-heavy instrumental.

“Fly Everything” with Shawn Wigs & Sun God of course finds the 3 boasting over a lavish instrumental while the song “Party Over Here” is a bland club banger. The song “Pistol Smoke” with Shawn Wigs of course spits that gun talk over a suspenseful beat & after the “Revolution” skit, the song “New World” gets conscious over a funky bass-line.

The track “Waffles & Ice Cream” featuring Cappadonna is a modern bastardization of the iconic Raekwon joint “Ice Cream” while “The Chase” with Sun God is pretty much a boring remake of “Run” off of The Pretty Toney Album. The album then closes out with “Soursop”, where Ghost links with Masta Killa & Solomon Childs to deliver a painfully trite reggae fusion.

Not sure what else to say, this is just so average on all fronts. The Wu will forever be all-time favorite group & Ghostface is defiantly the most consistent member, but the beats & the lyricism on this new album are so mediocre. However my biggest issue with this album is that it sounds rushed, as it’s only 33 minutes long. Hopefully, he’ll take his time with the next album.

Score: 2.5/5

Ca$his – “The County Hound 4” review

Ca$his is a Chicago, Illinois born & Irvine, California raised rapper that came up as a member of The Renegadez. However, he‘d eventually sign to Shady Records as a solo act in 2006 & drop his debut EP The County Hound the following year. But after having them shelve his album for 5 years, he left & made his official debut with The Art of Dying. This was followed up with The County Hound 2 in 2013 & pretty much a new release or releases every year. He just dropped his last album The Art of Living a few months ago & if that isn’t enough, he’s already delivering his 9th full-length album & the 3rd sequel to the project that got him where he is today.

The album kicks off with “Fly High”, which is a killer rap rock anthem about weed. The next song “In Real Life” gets reflective over a smooth instrumental from longtime collaborator Rikinatti while the track “Bring It In” charismatically flexes over some knocking drums. The song “Don’t Like Me” gets rowdy over a hard hitting beat with some keyboards while the track “Whoomp” talks about how fresh he is over a Neptunes inspired instrumental.

The song “Live It Up” sees Capo bragging over a haunting piano lead while the track “Orange County” pays tribute to his California stomping grounds over a laidback beat. The song “I Got” is an awkward auto-tune ballad with a luxurious trap beat while the penultimate track “Don’t Care” gets reckless over a demented beat. The album then ends with “Whut’s Really Happnen’?”, where Capo gets bloodthirsty over a nightly instrumental.

A lot of Ca$his’ greatest bodies of work come from The County Hound series & this is no exception. Couple tracks I could’ve done without but for the most part, it’s a great representation of who he is & where he is now. Dude’s been in the game for a little over a decade now but to this very day, he & Rikinatti continue to the bring out the best in each other.

Score: 4/5