Drake – “Habibti” review

Toronto, Ontario, Canada rapper, singer/songwriter, actor, producer & entrepreneur Drake going solo for the first time in 3 years with his 9th studio LP. Skyrocketing to fame in 2009 off his 3rd mixtape So Far Gone, the success of this groundbreaking project resulted in a contract with both Young Money Entertainment/Cash Money Records & they helped put out the man’s underrated full-length debut Thank Me Later the next summer. His sophomore effort Take Care the year after would be even better & I enjoyed Nothing Was the Same too but after If You’re Reading This It’s Too Late & then What a Time to Be Alive with Future (both of which came out in 2015), that’s when the quality in Drake’s music really began to take a nosedive. VIEWS was a terrible foray into dancehall, More Life was mediocre despite being stylistically eclectic, his YM/CM swan song Scorpion was a disappointingly failed attempt at making a double disc album showcasing the hip hop/R&B sides of the OVO Sound founder’s music respectively, Care Package is decent collection of 17 loosies from 2010-2016 that we’ve all heard before, Dark Lane Demo Tapes tried to experiment with new sounds only to miss the landing & Certified Lover Boy just felt like the same old shit we’ve heard from him before. Honestly, Nevermind was basically Drake’s own version of Renaissance by foraying into house music a month ahead to mixed reception until Her Loss with 21 Savage was a 6/10 at best because 21 felt like a featured artist on there. For All the Dogs was the most I’ve enjoyed Drake’s music since If You’re Reading This It’s Too Late & $ome $exy $ongs 4 U with PARTYNEXTDOOR last Valentine’s Day would become his worst collaborative project yet, coming off getting destroyed by Kendrick Lamar in a rap beef to drop Habibti, Maid of Honour & Iceman.

The “Rusty” intro awfully begins with him singing over some acoustics for 62 seconds sending a message to the sweethearts & those he’s dated whereas “WNBA” produced by Gordo mediocrely details a long-distance relationship that’s effected by travel. “Slap the City” might be my favorite track here from the Noel Cadastre beat to Drizzy’s hedonistic lyrics, but then “High 5s” finds himself getting in his petty bag over a 40 instrumental.

“Hurrr Nor Thurrr” featuring Sexyy Red could be my 2nd least favorite track here because of the way they describe an addictively messy relationship ruining a sample of “MORAL” by Avenoir, but “I’m Spent” featuring Loe Shimmy tops it as the worst song here wasting a moody beat to talk about both emotional instability & luxury. “Classic” continues with this grating alternative R&B ballad encouraging a woman to leave the man she’s with until the minimally cold “Gen 5” makes a tacky statement regarding him getting a Glock for last Christmas.

The song “White Bone” was another moment that I was fine with instrumentally even if Drake ruins it by singing about a relationship on the verge of collapsing that he thinks is a real connection while “Fortsworth” featuring PARTYNEXTDOOR feels like an $$$4U leftover from the slow beat to them singing about being with long-distance partners. “Prioritizing” spends the remaining minutes of Habibti’s core attempting to strip his confidence & replace it with the feeling of uncertainty.

“Solar Eclipse” featuring Don Toliver starts the deluxe run interpolating “Choosin’ Texas” by Ella Langley & sampling “Get Throwed” by UGK featuring JAY-Z & Jeezy while “Québec” references 17-time WWE world champion, WWE Intercontinental Champion, 5-time WWE United States Champion & 4-time WWE tag team champion John Cena. “Cold Shoulder” reunites with Don Toliver to complain about women ignoring them & the final bonus track “Classic 2” feels no more or less cringe than the original.

Some people would say either Honestly, Nevermind or Certified Lover Boy are Drake’s worst solo efforts, but I feel like he managed to outdo both of those & have Habibti take the cake. It’s more on the R&B side of things stylistically compared to Maid of Honour & Iceman although the production’s decent explorations of alternative R&B, pop rap, trap soul, downtempo, contemporary R&B & pop rap are ruined by the songwriting.

Score: 1/5

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Jane Remover – “Status Update Music” review

Here is the 7th mixtape from Newark, New Jersey musician Jane Remover. Aside from the 3 full-lengths under deadAir Records including Frailty as well as Census Designated & most notably Revengeseekerz, they have also released the Ghostholding mixtape on the label & 4 tapes pioneering the Dariacore sound. Coming off the Indie Rock mixtape last summer & Young Dabo’s sickeningly transphobic “Bleed” diss towards them however, Jane’s back to give the world some Status Update Music.

“If You Think I’m a Bitch, You Should Meet Jane Remover” blends Dariacore, hybrid trap, industrial hip hop, deconstructed club, xtra raw, jerk & complextro for an energetic intro mentioning underscores whereas “XO Tour Llif3” experiments with hyperphonics, speed house, electro house, hybrid trap, electro house, future bass & complextro to distinguish itself from Lil Uzi Vert’s biggest hit.

Brostep, Dariacore, rawstyle, EDM glitch hop, complextro & hardstyle all collide on the emotional “I Did This for Us” single while “…Like Watching a Zombie Turn” would debatably be amongst my top 3 tracks here due to the way future bass, changa tuki, UK hard house, brostep, psystyle & power soca are all mixed with hyperflip. “Crowdkilling 101” on the other hand explores bass house, electro-industrial, hard techno, complextro, speed house & French electro whilst maintaining the hyperphonics elements.

“Nothing Lasts Forever (Every Detail U Have Ever Told Me)” was a too 5 moment personally expanding beyond Dariacore in favor of rawstyle, speed house, hybrid trap, bubblegum bass, complextro, future riddim, festival progressive house, alternative rock & bass house while the manically dense “Chase This Feeling” bringing secondary influences of hyperflip, future bass, speed house, bubblegum bass, changa tuki, hard trance, rawphoric & rawstyle to the table.

Dariacore, deconstructed club, complextro, changa tuki, electro, nu skool breaks & bass house each have their own distinctive presence throughout “#BoyLetMeKnow” kick off the 2nd half of Status Update Music while “The Summer I Pretty” comes through with a mechanical melting pot of bass house, industrial techno, hyperflip, deconstructed club, complextro, Detroit techno, electro-industrial, hard techno, French electro, bass house & tearout.

“Right Nowww (Tear Me Apart)” would be my 2nd favorite song on the tape maximally meshing Dariacore, happy hardcore, hard trance, freeform hardcore, speedcore, buchiage trance, UK hardcore, hyper techno, psytrance, nightcore, midtempo bass, hardtek & bouncy techno while “L.A.M.B. (Love.Angel.Music.Baby.)” bears it’s name after Gwen Stefani’s timeless solo debut despite being stylistically rooted in brostep, hyperphonics, rawstyle, tearout brostep & hybrid trap.

The rhythmically buzzy “I Belong to Nobody (But Tonight I’m Yours)” keeps pushing boundaries of Dariacore drawing further inspiration from neoperreo, deconstructed club, digicore, lento violento, snap, jerk, trap, xtra raw & rawstyle prior to “Get Ugly” containing it’s individual sections varying between French electro, electro-industrial, hyperflip, drumline, industrial metal, ballroom, Jersey club, deconstructed club, neoperreo, midtempo bass & rawstyle.

“In Every Lifetime (Together Like This)” nears closer towards Status Update Music’s conclusion with a melodically polyrhythmic bass house, Dariacore, alternative R&B, hard techno, bubblegum bass, indietronica & speed house while the outro “Summer Fling” ends in the form of this perfect dance-pop, contemporary r&b, funky house, Baltimore club, akishibu-kei & 2-step anthem in time for next month.

Most would say Dariacore 2: Enter Here, Hell to the Left is the best thing Jane Remover had done under the leroy moniker, but Status Update Music surpasses it 5 years later. Their production nearly perfects the Dariacore subgenre of hyperpop & EDM microgenre Jane created eclectically mixing it with hints of hard dance, hybrid trap, industrial hip hop, deconstructed club, xtra raw, jerk, complextro, speed house, electro house, future bass, rawstyle, EDM glitch hop, hardstyle, changa tuki, UK hard house, brostep, psystyle, power soca, bass house, electro-industrial, hard techno, French electro, bubblegum bass, future riddim, festival progressive house, alternative rock, hard trance, rawphoric, nu skool breaks, industrial techno, Detroit techno, tearout, happy hardcore, freeform hardcore, speedcore, buchiage trance, UK hardcore, hyper techno, psytrance, nightcore, midtempo bass, hardtek, bouncy techno, tearout brostep, neoperreo, digicore, lento violento, snap, trap, drumline, industrial metal, ballroom, Jersey club, midtempo bass, bass house, alternative R&B, indietronica, dance-pop, contemporary R&B, funky house, Baltimore club, akishibu-kei & 2-step.

Score: 4.5/5

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Ankhlejohn – “Everything Beautiful Died Early” review

Here we have the 8th mixtape from Washington, D.C. emcee/producer Ankhlejohn. Breaking out off his Big Ghost Ltd.-produced sophomore effort Van Ghost, he’s given the underground his last 7 tapes as well as 8 EPs & 7 full-lengths in almost a decade. Other favorites of mine in his discography include the Navy Blue-produced As Above, So Below, the Rome Streetz collaborative effort Genesis 1:27, the Cookin’ Soul-produced The Michelin Man & the August Fanon-produced Live! at the Disco last summer. A whole year later & V Don’s producing Everything Beautiful Died Early.

“Origins” gets things going with a 125 second intro talking about being paid to prove cases over a drumless orchestra backing him whereas “No Specifics” goes for a boom bap vibe instrumentally referencing The Sopranos, which is one of my top 3 shows. $ha Hef joins Lordy so they can talk about some “Monyun” over a sample & some drums while “Trauma or Tragedy” incorporates a more laidback beat to talk about being there when the powder was still stone.

Babymaine joins Ankhlejohn on “Inglorious” for a gangsta rap/boom bap crossover detailing their experiences living in The Bronx & the DMV just before “Stoneisland” wraps up the 1st half of Everything Beautiful Died Early looking back at when Juelz Santana was a big inspiration to him. “Vegan Goose Down Silence” kicks off the 2nd leg talking about making this tape because he felt like the game needed him leading into “King, Pawn & Rook” featuring Crimeapple breaking down the mafioso lifestyle.

“Solar Faxx!” aggressively talks about his desire of making educating ourselves more mainstream while “Laugh & Cry” once again touches base regarding the subject of the gangsta life, explaining that it’s pretty much a cycle. “Day 1” talks about his refusal of disrespecting the plates he came from & his knowledge of the game dating back since the beginning while “Packback” ends by observing the amount of love since his youth that’s faded.

Next fall will be a whole decade since Ankhlejohn introduced himself by taking the underground on a trip through The Red Room & for the past 14 months, he’s been dropping the greatest output of his entire career from The Michelin Man to Live! at the Disco & now Everything Beautiful Died Early. There are only a small handful of guests on this one rather than Lordy holding down the mic all by himself throughout the predecessor last spring, but they’re all carefully selected since everyone flows well over V Don’s distinct production style.

Score: 4.5/5

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Possessed – “Absentia” review

Here we have what could likely be the only extended play from London, England, United Kingdom emcee Possessed. A founding member of Rhyme Asylum, they would drop their full-length debut State of Lunacy in 2008 & followed it up a couple years later with the sophomore effort Solitary Confinement. The latter of which would become the group’s final album since they disbanded afterwards although neither Skirmish or Psiklone have gone solo, which Absentia gave some fans hope considering it dropped without any prior announcement.

“Revolution” hops over a raw beat to kick things off talking about being immortalized & apologize for leaving when he shouldn’t have while “Priority” embraces a creepy boom bap vibe instrumentally, wrapping up the 1st leg advising those who think they can hang with him on the mic to put a sock in it. The closing track “Take Me” preceding a titular outro skit spends the EP’s remaining 3 & a half minutes chopping up a soul sample talking about being a completely different breed.

The man himself has since confirmed he’s done making music despite continuing to drop tracks from the vault that’re previously unreleased so if Absentia marks the only time we hear Possessed by himself for the duration of a project, then I suppose I’ll take it. I don’t find the production to be as impressive as someone like Illinformed or Badhabitz per se, but he still makes good justification regarding why he’s one of the most technically skilled lyricists in all of UK hip hop.

Score: 3.5/5

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Stray Withers – “Blink of an Eye” review

Stray Withers is a 33 year old rapper & songwriter from New Haven, Connecticut who formed the Rogue Hollow collective during the 2020 COVID-19 pandemic. His solo debut extended play Witherman would come out the next fall as did his full-length debut Cloudy Alibi in the summer of 2023 & more recently his previous EP Enjoy the View this past July, enlisting his crew’s newest in-house producer Charlie Beans to handle all of the beats for Stray’s 3rd EP coming off producing most of James Joyce the Squatch’s 4th album Discomfort Inn last month.

“Cicada” after the “Change of Plans” intro starts off with an aggressive boom bap instrumental pleading to dig up this world that’s been underground for too long while “Foul Ground” featuring James Joyce the Squatch talks about the difference between them & the rest. “Out Alive” depressively speaks of sleeping under a cypress tree forever & after “Frost Bite” assures it’s ok if one can’t keep up, the final song “Perfect Timing” preceding the “Epilogue” outro ends by explaining the very thing life has never had.

Gearing up for his upcoming sophomore effort Flinch also entirely produced by Charlie Beans later this fall, I’m getting a huge impression that it’ll top Cloudy Alibi to become Stray Withers greatest LP yet since Blink of an Eye surpasses both Weathermen & Enjoy the View as far as his EPs go. Between the Sky Swamp Orange frontman’s lyrics & Charlie’s dark production, it could also be looked at as Rogue Hollow’s continuation of making shockwaves across the underground.

Score: 4/5

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Isaac Castor – “Lost in Transit” review

New surprise LP & the 4th altogether from Detroit, Michigan emcee Isaac Castor. Coming up in 2010 under the original moniker Gameboi, he would go on drop 4 mixtapes & 3 EPs prior to signing to the local underground hip hop powerhouse Middle Finger Music following its formation 8 years later. He then enlisted the label’s co-founder Foul Mouth behind the boards for his full-length debut The Rabbit Hole as well as the sequel & the final chapter Smoking Caterpillar, switching it up by having Machacha produce Lost in Transit.

“Bullet Train” begins with this 92 second drumless intro talking about needing a credit card replacement the way this game be scamming whereas “All Love” works him some bare guitars calling out the jokers faking to be tough when they ain’t. “Poet Dog” brings in some drums to talk about being made to reach the top just before “Canadian Wildfire” ditches them once again so he can explain the reason why the clouds have gotten so gloomy.

Things take a turn towards a boom bap vibe on “Get Serious” talking about staying mysterious in part of the sheep trying to follow the herd but after “Hopeless” featuring Miz Korona soulfully addresses an individual who’s so vain that they’ll consider this to be a diss directed at them, “What’s in the Box?” featuring Jalen Frazier continues the sample-driven boom bap instrumentation making people line up for this designer drug they’ve concocted.

“Candy Flip” featuring Aztek the Barfly, Fatboi Sharif & Foul Mouth brings the quartet together for a gritty hardcore hip hop anthem where each artist drops a cutthroat verse without the need of a hook while “Americano” jazzily talks about needing sativa & coffee soon as he gets up every single morning. “1 Way Ticket” takes up the last few minutes of Lost in Transit with a boom bap outro talking about people treating him like he’s normal until they realize he writes songs.

A great deal of the projects Machacha’s produced for other artists for at least 6 months following Eye of the Beholder have either been hit or miss, but Lost in Transit in my opinion ranks amongst Isaac Castor’s greatest material outside of The Rabbit Hole trilogy. You’re always gonna get quality production from Machacha & that’s no different here, the biggest difference however is the improved performances from both the main artist AND the guests.

Score: 4/5

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Royal Terms – Self-Titled review

Royal Terms is an east coast superduo consisting of Queens, New York emcee Royal Flush alongside Lawrence, Massachusetts emcee/producer Termanology. One of whom became the de facto leader of the ST. da Squad collective & the other’s debut Ghetto Millionaire became amongst the most underrated albums of the 90s. Neither of them have crossed paths with each other musically up until this point, so an eponymous full-length debut of their own as a fan of each artist only seemed fitting enough.

“Terms of Royalty” produced by Statik Selektah begins with this inspiring boom bap intro talking about the legendary statuses they’ve earned for themselves whereas “Baby Don’t Leave” soulfully explains how the trunk & rap games are both the same. “Legendary Blocks” featuring Tek & UFO Fev finds the quartet talking about growing up in their respective home states while “Crack Era Survivors” looks back at when cocaine flooded the streets in the 80s.

Dru Hoffa joins Royal Terms on “Angel Whispers” talking about them getting it out the gravel over an araabMUZIK beat leading into “Problem” describing hotel parties where the room gets turned upside down. “Bedtime” hops over a gritty Cartine Beatz instrumental to talk about protecting what’s theirs & the closing track “Impossible” takes up the last few minutes of the EP chopping up a soul sample discussing not needing a globe to show the world is theirs’.

Similarly to Teknology’s self-titled album a year & a half earlier, Royal Terms unites 2 veterans who’ve spent decades making names for themselves in their own separate lanes to make an introductory opus that’s guaranteed to satisfy fans of both Royal Flush & Termanology. Outside of a couple guests, they spend a majority of the EP trading hardcore verses over quality boom bap production & honing in on their artistic chemistry.

Score: 4/5

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Vstylez – “The Final Boss Pai Mei” review

Here is the 4th studio LP from Detroit, Michigan underground veteran Vstylez. Being introduced to him through his feature on “Clash of the Titans” off of eLZhi’s 3rd mixtape The Leftovers, he eventually put out a debut album of his own At Oddz ‘Til I’m Even in late 2014 & the sophomore effort Thornton Melon about 4 years later. The acclaim of the latter resulted in V temporarily signing to Middle Finger Music & returning in 2024 with Buddy Revell, coming back almost 2 years later for The Final Boss Pai Mei.

“Capricorn” after the intro begins with this angelic boom bap intro talking about his zodiac sign whereas “Fenkell Ave.” recalls his experiences growing up near that road leaning towards a much dustier & hardcore vibe. “Iron Sharps Iron” featuring The Bad Seed unites both of them over more boom bap instrumentation talking about both of them being forged for the fight while “My Prime” dabbles with rap rock feeling like he’s in his best possible quality.

The self-produced “YNz” sends a message to all the younger artists out there incorporating some prominent synthesizers leading into “The Raid 2” featuring eLZhi reuniting both MCs to talk about having the ability of putting holes through chests via rhyming. “Introvert” instrumentally brings a triumphant aura to the picture advising everyone to let him be while “Golden Arms” featuring Isaac Castor & Ruste Juxx brings all 3 of them together for a cutthroat hardcore hip hop anthem.

Black Milk gets behind the boards for a profound ode where V looks to stand for “The Fallen” ones in his life & having scars within his soul that no one can visibly see but once “Denmark Vesey” tells the audio story of the late Charleston abolitionist whom the Detroit emcee/producer was named after, Sadat X accompanies V on the mic during “Dumb” for all of these idiotic muhfuckas out here getting high off percocets to acknowledge what they’ve done for the culture.

“Changing My Ways” wraps up the last leg of The Final Boss Pai Mei talking about having liquor on his breath & leaving rumble all over the mess of regrets he’s made while “No One” puts a soulful twist on the traditional boom bap sound thanks to Bronze Nazareth detailing him becoming his own provider & every move being self condition. “Patricia” produced by Marv Won finishes up the full-length sampling gospel for a crushing boom bap tribute to his late mother.m of the same name.

The Final Boss Pai Mei carries over the ethos of both Thornton Melon & Buddy Revell in the sense of Vstylez naming his albums after characters from classic movies, with this one being Gordon Liu’s portrayal in Kill Bill 2 & dropping some of the greatest material of his career for nearly a decade. Even if I personally prefer the latter half, it’s already been confirmed that Walter Sobchak will finally arrive next & this will hold off fine until then.

Score: 3.5/5

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iyrus – “Hottest in Philly” review

New surprise EP & the 5th overall from up-&-coming Philadelphia, Pennsylvania rapper & producer of Nigerian descent iyrus. Emerging in the summer of 2024 after doing an On the Radar freestyle, he would later introduce himself more properly a year ago off his debut EP Resurgenceuntil continuing to make waves with I as well as II & of course III. Not even a couple months since the trilogy’s conclusion & the Hottest in Philly does look to slow down anytime soon.

“$$$Talk” starts us off boasting of him putting diamonds in his mouth hence letting the money do all of the speaking for him over a sinister trap instrumental whereas “Shamu” has a more vibrant approach to the beat talking about walking in masked up with a chopper. “Eagle” gets the 2nd half of the EP going flexing how fly he is coming from the northern side of his city while “Rolling Stone” spends the last minute & a half proving all doubters wrong.

I’ve already made it pretty clear since the beginning of 2026 that iyrus was somebody to keep an eye out for & would certainly say he’s one of the Hottest in Philly alongside slayr, but I still think he hasn’t fully reached his potential yet & I came away from it enjoying it a bit less than the other 2 extended plays we’ve gotten from him this year. Mainly because I don’t find the trap/plugg production to be anything all that groundbreaking although I firmly believe he’ll very much get there.

Score: 3/5

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O.T. the Real – “Villain” review

Philadelphia, Pennsylvania emcee O.T. the Real staying busy beyond Show No Mercy to hit us with this 10th solo LP. Getting his start in the underground nearly a decade ago after coming home from prison & releasing his debut single “Papercuts”, his profile began to grow from there after showcasing his skills on radio stations or dropping his last 9 albums as well as a mixtape & his 9 EPs. My favorites being the Heatmakerz-produced 3rd EP The Irishman & the DJ Green Lantern-produced 3rd album Broken Glass that dropped on my 25th birthday & the Statik Selektah produced Maxed Out. No Matter What, Desperation of December, It’s Almost Over & Red Summer were all hit or miss for me until O.T. finally signed to Black Soprano Family Records & enlisted araabMUZIK for Zombie to critical acclaim. Prepare for War & Pale Horse were ok, following up Moving Base O.T.’s eponymous debut showed improvement as did the Nickel Plated produced Cost of Living & The Devil You Know. Coming off 38 Spesh fully producing Possession with Intent & Chop-La-Rok flexing The Wars I’ve Won with Rare Scrilla, the Villain has come back.

“750” works in a synth-driven boom bap beat so he can talk about him being back whereas “Evil Eye” instrumentally turns up the suspense looking to deepen the odds although leaving an open verse during the backend of it makes it feel somewhat incomplete. “Sent Out” warns for everyone to get down when he trips out spitting nothing but killa shit leading into “Bad Guy” talks about his willingness of becoming the villain one wants him to.

Regarding the song “Silent”, we have O.T. over some prominent piano chords suggests to bring a fun if one so happens to walk inside the same room as him while “Gary V” featuring Flames Dot Malik angrily puts themselves inside the shoes of narcotic merchants to reach the halfway point. “Mint Leaves” gets the 2nd half going hopping over more keys to talk about shit getting shifty around his parts just before “Mr. Ozempic” boasts his nickname earned by getting the weight off.

“B.O.T.R.A. (Back On The Run Again)” featuring SKNJ finds the pair rounding out 3rd looking to even the score although O.T. had the better verse with all respect while “F.T.S. (Feed The Streets)” hungrily talks about his constant artistic hunger despite constantly putting out music at his prolific rate. “Strike” featuring Murkemz takes a couple minutes to spit gritty verses without the need of a hook while outro finishes the album talking about “The Last Time” we ever saw a Villain like him.

Admittedly: I wasn’t the biggest fan of Show No Mercy earlier this year, but Villain will certainly appeal to anyone who enjoyed You Are Who You Eat With or Cost of Living & The Devil You Knowsince O.T. the Real generally nails it whenever he locks in with Nickel Plated. It significantly darker than all of that previously mentioned output from the production to the antagonistic lyricism even if the guest list can be somewhat inconsistent.

Score: 3.5/5

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