Converge – “Love Is Not Enough” review

Converge is a metalcore band from Salem, Massachusetts consisting of drummer Ben Koller, bassist Nate Newton, guitarist Kurt Ballou and finally frontman & Deathwish Inc. co-founder Jacob Bannon. Although their 1994 debut Halo in a Haystack was moderately received, almost everything they’ve done since has cemented them as quite possibly the greatest metallic hardcore band of all-time. Petitioning the Empty Sky, When Forever Comes Crashing, my personal favorite Jane Doe, their Epitaph Records debut You Fail Me, No Heroes, Axe to Fall, All We Love We Leave Behind during my sophomore year of high school & The Dusk in Us have all been widely praised for the own individual reasons & they’re back after almost a decade for their 11th studio album.

The title track combines their signature metalcore sound with elements of both mathcore & thrash metal explaining that love won’t do much to fend off the scavengers whereas “Bad Faith” explores the concept of helplessness after witnessing a friend suffering in the midst of a horrible situation beyond his control. “Distract & Divide” takes 91 seconds to express Jacob’s frustrations regarding modern society while “To Feel Something” confesses to being overwhelmed by his own fears, insecurities & stressors to the point where he feels numb to everything.

“Beyond Repair” takes a more compositional approach to reach the halfway point of the LP although it might be the weakest track here, but “Amon Amok” continues the excitement by talking about taking what they deserve & life presently feeling like there’s a whole bunch of demons running around. “Force Meets Presence” explores the concept of 2 different things that forever expand without choosing a winner leading into “Gilded Cage” making some commentary towards the pharmaceutical industry, the opiate epidemic & how it’s tied to so many other things.

The song “Make Me Forget You” winds down Love Is Not Enough‘s last 10 minutes or so observing everything we’ve let slip by as well as silence persisting where memories used to live while the 2nd & final single “We Were Never the Same” blends metalcore with atmospheric sludge metal & post-hardcore to conclude the full-length expanding the previous track’s concept in the sense of Jacob becoming self aware of reaching at the end of the line & it’s too late, coming to terms with him trying to be a better person.

This fall will mark a quarter of a century since Jane Doe became the greatest metalcore ever recorded, so it’s only right Converge celebrates with an album I must confess to enjoying more than The Dusk in Us although I wouldn’t put it above You Fail Me or All We Love We Leave Behind & Axe to Fall. The production in terms of primary & secondary influences is almost similar to Love Is Not Enough‘s predecessor except the post-hardcore undertones are being swapped it in favor of hardcore punk & Jacob makes a clear statement about us needing more than positive relationships & emotional affirmation to survive humanity’s darkest forces closing in on us.

Score: 4.5/5

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Buddah Bless – “Buddah Bless the Streets” review

Buddah Bless is a 34 year old producer, songwriter & former rapper from Atlanta, Georgia who I began paying attention to in the late 2010s through his extensive collaborations with Quality Control Music when the label was at their prime. He would also go to produce for many other artists like the late Young Dolph or his cousin Key Glock & Megan Thee Stallion to name a few, following the footsteps of 808 Mafia co-founder TM88 a little over 2 months ago & kicking off a brand new series of albums by curating his very own solo debut.

“Same Soldier” by Hunxho & Skooly was a decent trap intro with both of them talking about remaining the same as they were when they finally made it out of poverty leading into “Owe Me” by Kodak Black being one of the latter’s better songs I’ve heard in a while speaking of controlling his anger & thumbin’ racks. “From the Trap” by Skooly & UFO Toon finds the pair talking about where they both come from while “I Feel Good” by 41 isn’t much better despite shifting towards a New York Drill sound.

I would’ve liked the single “See the World” a lot better if Bossman DLow was taken off of it since I don’t mind either Big Sean or 2 Chainz’ verses leading into “Toxic” by Big Fredo & Kodak Black taking a more raunchier approach topically than “Owe Me” do & Fredo’s verse was the weakest of them both honestly. “On Arrival” by Tre Loaded mediocrely talks about being the one to hop out the car & he isn’t even the driver while “Scared AF” by UFO Toon feels more off-the-cuff than his 1st appearance.

“Guinea Pig” by Smokepurpp was another song that I truthfully enjoyed more than others talking about being a big stepper while “Can’t Pretend” by Trinidad Jame$ dismisses the idea of playing it cool with weird hoes, corny A&Rs & these bitch ass dudes who have no money. “All She Got” by Skooly would be the best of the 3 contributions he makes personally talking about sex once more while “Buyers” surprisingly finishes the album with Buddah Bless himself rapping over his production suggesting he could retire off the money he made producing for other artists.

Sadly as much as I wanted to enjoy Buddah Bless the Streets because I’ve always considered him to be talented behind the boards, I found myself underwhelmed by a great majority of Buddah Bless’ full-length debut & it makes me hope that the next installment of installments depending on how long he plans to span this whole saga out will be much more enjoyable in my opinion. His beats aren’t the problem at all, it’s the inconsistency from the guests a great deal of the time if anything.

Score: 2/5

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Ouija Macc & 8corpses – “IN4NO” review

New collaborative extended play between Ouija Macc & 8corpses. The latter of whom has been making waves in the underground wicked shit scene straight outta Oakland, California since 2022 while the other hails from Las Vegas, Nevada putting it down for Psychopathic Records since the fall of 2017 & forming the Chapter 17 Records subsidiary of the label that runs beneath the streets in 2021. To celebrate Friday the 13th however, they’re teaming up to drop some IN4NO after previously crossing paths on “Hits”.

“Wicky Wicked” starts with both of them hopping over a cold-blooded trap instrumental from none other than Devereaux referencing WWE Hall of Famer, former 3-time WWE world champion, 3-time WWE United States Champion, 2-time WWE Intercontinental Champion, 9-time WWE tag team champion, 8-time WWE Cruiserweight Champion, The Crash’s inaugural Mundial Pesocompleto Campeon & アイアンマンヘビーメタル級チャンピオン Rey Mysterio whereas “Kinfolk” featuring Darby O’Trill finds all 3 of them teaming up so they can talk about being psychos going wherever the wind blows. “Puppeteer” blends industrial hip hop & boom bap refusing to put up with any more bullshit leading into the closer “Molotov Mobbin’” having fun using some incendiary weapons.

Haven’t heard a whole lot of 8corpses’ stuff truthfully, but listening to his performances throughout IN4NO gives me an understanding as to why Ouija Macc would work with him even if this isn’t one of my favorite collab projects or anything. The production primarily handled by Devereaux is an improvement above Ouija’s previous collaborative effort Came2kill! with Sinizter last summer & comes full circle after 8corpses opened for the C17 CEO numerous times over the years.

Score: 3.5/5

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Brent Faiyaz – “Icon” review

Brent Faiyaz is a 29 year old singer/songwriter, rapper & producer from Columbia, Maryland starting off in the DMV hip hop until shifting towards R&B & more specifically alternative R&B. He’s put out a couple full-lengths along with 6 EPs until forming his own label ISO Supremacy, releasing his debut mixtape Larger Than Life under his imprint & signing Tommy Richman. It’s been almost a couple years since the latter’s debut Coyote & Icon looks to recapture the magic of his debut for his 3rd album.

After the compositional “white noise.” intro, the first song “wrong faces.” begins with an acoustic instrumental telling this woman he’ll become the reason she’s not alone whereas “have to.” produced by Tommy Richman takes a much smoother approach singing about being in a race with time to get where he belongs. “butterflies.” splits itself in 2 halves thanks to benny blanco & Cashmere Cat asking his partner if she feels the way he does leading into “other side.” explores a dance pop vibe singing about a woman he saw in his dreams.

“strangers.” starts the other half of the album taking the alternative R&B route describing a relationship that has completely fallen apart just before “world is yours.” throws it back to the 90s with a synth-woven beat from Chad Hugo & singing about wanting his woman to have him her way. “4 seasons.” exuberantly describes a female who’s either hotter than a day in July or cold as the winter but once “pure fantasy.” atmospherically sings about his lover being all he needs, “vanilla sky.” wraps up Icon posing the question of whether one’s happiness lasts forever or if it’s short term.

The self-produced “full moon. (fall in tokyo)” starts the deluxe run sampling “mewtwo” by Ken Carson expressing his desire of staying in Japan with his soulmate for the rest of their lives while “1 for you. (spring in new york)” flips “If” by Destiny’s Child singing about being the one for this chick if she’d like him to be. “tony soprano.” moodily puts himself inside the shoes of the lead character from one of my top 3 shows The Sopranos & Beat Butcha samples “Chapel Hill Heist” by Father during the final bonus track “peter pan.” singing about flying to Neverland with his Wendy.

Initially set to come out on his birthday last fall until pushing it back, the extra 5 months Brent Faiyaz would spent ensuring Icon would outdo both it’s predecessors really paid off despite initially letting down many who were looking forward to it including myself & I’m thankful we got the most expansive entry in his discography out of it. The intimately cinematic production merges the foundations of classic soul music with elements of modern R&B depicting themes of growth, loss, renewal & his evolution from both an artistic & a personal standpoint.

Score: 4/5

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Jill Scott – “To Whom This May Concern” review

Jill Scott is a 53 year old singer/songwriter, actress, model & poet from Philadelphia, Pennsylvania known for her classic 2000 full-length studio debut Words & Sounds: Who’s Jill Scott? under Epic Records. Her sophomore effort Words & Sounds 2: Beautiful Human and Words & Sounds 3: The Real Thing would both go on to become well received too, starting up her own Blues Babe Records to drop the Warner Records-distributed The Light of Sun & the Atlantic Records-backed Woman after I had graduated high school. Over a decade later, she’s returning for her 6th album.

After the “Dope Shit” intro, “Be Great” kicks it all off with a vibrantly soulful opener singing over some horns about the only thing she wanted to do was make history whereas “Beautiful People” produced by Om’Mas Keith expresses her love for African Americans fusing neo-soul, smooth soul, boogie & funk. “Offdaback” blends jazz, neo-soul & spoken word dedicating itself to all the pioneers who took the backdoor while “Norf Side” featuring Tierra Whack finds the 2 telling their city over a boom bap instrumental from none other than DJ Premier.

“Pay U on Tuesday” after the “Disclaimer” skit fuses soul & jazz telling a man she doesn’t want anymore when he’s trying to be something he isn’t leading into “Pressha” combines elements of neo-soul, psychedelic soul contemporary R&B & neo-psychedelia to sing about her finding it pathetic this guy stays chasing her. “B.P.O.T.Y. (Biggest Pimp of the Year)” featuring Too $hort teams up over a funky beat throwing it back to the days of 70s blaxploitation movies while “Me 4” spends 95 seconds singing about learning from her mistakes.

DJ Camper jumps behind the boards during “The Math” advising to subtract the disingenuous from the authentic ones for the sole purpose of seeing how it makes you feel while the soulfully jazzy “A Universe” sings about the very thing she comes across when looking in her man’s eyes. “Liftin’ Me Up” reincorporates more influences of jazz & soul music expressing a kind of love that uplifts her while the hip hop-driven “Ode to Nikki” featuring Ab-Soul honors the legacy of the late Nikki Giovanni over a Young RJ instrumental.

“Don’t Play” rounds out 3rd smoothly yearning for full mental & mattress satisfaction instead of a mere fraction of it while “To B Honest” featuring J.I.D portrays themselves as 2 lovers singing & rapping about their needs of getting to know one another other. “Right Here Right Now” experiments with house a little providing all the answers to questions like if affection still exists or if we’ll ever be loved & after “Àṣẹ” passionately alludes to the Yoruba religion concept for a few minutes, “Sincerely Do” ends the LP seeking clarity over an S1 beat.

The Light of the Sun & Woman both have their share of great songs although I wouldn’t necessarily put them in the same ranks as the Words & Sounds trilogy, but To Whom This May Concern marks Jill Scott’s comeback reinforcing why she’s been such a prominent figure in neo-soul for over a quarter of a century. The production additionally explores the styles of smooth soul, boogie, funk, hip hop, boom bap, psychedelic soul, spoken word, progressive soul, vocal jazz, contemporary R&B & neo-psychedelia with Jill reflecting the personal growth she’s experienced since leaving a major label to go independent.

Score: 4.5/5

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Ricky Hil – “10,000 Grams” review

Ricky Hil is a 35 year old rapper & singer/songwriter from Manhattan, New York who happens to be the son of fashion designer Tommy Hilfiger. He also has 27 mixtapes & 2 collaborative efforts with Psychopathic Records subsidiary Chapter 17 Records CEO Ouija Macc in addition to forming his own label Limosa Nostra Records, recently signing to Atlantic Records for a distribution deal & had SosMula formerly of the City Morgue make his debut for the imprint Kamp Krystl Lake last Halloween. 808 Mafia co-founder Lex Luger has been said to be returning to fully produce a sequel to 500 Grams for about a year or so & it’s finally dropping ahead of Valentine’s Day weekend.

“Hell Valley” begins by hopping over a minimal trap beat talking about giving a fuck less if he dies because he’s dead already & nobody caring when his day comes whereas “Slut” works in some strings & hi-hats so he can continue detailing the gangsta lifestyle. Things go for a cloudier trap vibe talking about people selling “Pipe Dreams” near him & involving themselves with the drug scene than the club scene just before “U Like Me Dead” pulls from trap metal instrumentally talking about riding a foreign stoned

SosMula makes the first of 3 appearances on the 2nd & final single “Blow” aggressively depicting imagery of gangsta lifestyle together including drug use while “Amerie” blends cloud rap, trap & pop rap to tell the titular character he’s more interested in her friends than her herself. “Sephora” boisterously talks about living life his way giving a fuck he offends anyone just before “1,000 Poundz” featuring Omertà continues the 2nd half of the tape moderately makes it known they ain’t here to play with hoes.

“In God We Trust” featuring SosMula kicks off the 4th quarter demanding to have the the racks through the money machine handed over to them while “Turkey Bagz” featuring Niko G4 finds the 2 talking about having their own set of problems that won’t be resolved. “Oxycontin” featuring SosMula reunited the pair 1 last time making bodies drop with his posse beside him & after “13” featuring Clowny talks about trying to catch a buzz in the middle of the woods out of boredom, the title track atmospherically ends representing all the stoners & the next generation of shooters.

Next month will mark an entire decade since 500 Grams became my favorite Ricky Hil solo tape & I’d still consider 10,000 Grams to be the most I’ve enjoyed his individual output in quite some time even if my expectations weren’t fully met necessarily. The evolved chemistry between Lex Luger’s production & the Limosa Nostra founder’s distinct approach to songwriting can’t be ignored, but it does start to lose steam towards the backend of it partly due to the increase of guests than the predecessor.

Score: 3/5

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Sam R I – “Stained Glass” review

This is the 6th EP from San Diego, California emcee/producer Sam R I. Someone who emerged within the west coast underground off his first 4 EPs Purple Cashmere, Rush Hour, Nickz & Stax Payne. He would later have William Bostick fully produce his debut album 12 Monkeys towards backend of 2024 after Bostick heard Sam’s verse on “Rise in Winter Crime (Brrrrr)” & a couple months succeeding an eponymous EP, he’s enlisting Truelove to handle all of Stained Glass’ beats.

We get 93 seconds of drumless rap rock vibes talking about him walking down a “Cold Path” just before things lean towards a boom bap vibe instrumentally explaining that he can’t deal with “Tha Pressure” of setting for less. “Dice Kream Man” shifts into more soulful territory showing a sensual side to Sam topically leading into “Paint the Picture” ominously pointing out the observation of kids these days inhibiting our feet with clips in a piece instead of sitting on beaches.

“Turf War Kids” after the “Stained Side” interlude chops up a vocal sample to represent his turf now while “Words from an O.G.” ruggedly suggests to take off before he breaks off. Willie Marshall appears on “Fly Away” soulfully talking about seeing death at a young age in the slums & after “Cloud City” featuring Apoc Krysis finds the 2 teaming up for another hardcore boom bap joint, “What If?” soulfully ends the EP telling the love of his life that all he wants is her.

12 Monkeys was an excellent gateway for anyone who hadn’t heard of Sam R I since it still embodies who he is today & those who were impressed by that LP as much as I was will certainly have to give Stained Glass a spin whenever the chance comes this weekend. It’s more conceptual than Sam’s inaugural full-length, cohesively describing 3 journeys coming out of 3 different cities & the production is still boom bap-oriented although there are secondary influences of drumless, rap rock & chipmunk soul.

Score: 4/5

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Crimeapple – “War Cash” review

Pretty sure this is the 19th extended play from Hackensack, New Jersey lyricist Crimeapple. Becoming a fan of his nearly a decade ago with his 4th EP Sweet Dreams along with the Big Ghost Ltd. produced full-length debut Aguardiente that next spring, his profile in the underground grew exponentially from there. Discography standouts include the DJ Skizz-produced Wet Dirt, the DJ Muggs-produced Medallo, Cartagena, Breakfast in Hradec, Sin Cortar, the Preservation-produced El León, the official Aguardiente sequel Bazuko, the Mello Music Group-backed This, Is Not That produced by Apollo Brown, Rose Gold & more recently the V Don produced Bulletproof Chicken. Last we heard from him was Hanzai this past Black Friday & he’s back with the Evidence-produced War Cash.

“Last Day” hooks up a drumless piano loop to get us started talking about no diamond district having the capability of cooling him off now that the fire’s been lit leading into “Dr. Scholl’s” taking a slicker approach to the beat spraying the foot care product as if he’s graffiti writing. “Ventilation” goes for a wavier vibe assuring he retained his soul after updating his mind leading into “Karachi” embracing a boom bap direction to capture the aura of those who wound up falling flat.

Blu makes my favorite guest appearance of the 2 on “Pinto” likening their pens to pistols over a funky beat while “Roy” strips the drums again talking about God & the agencies being the only things he fears. “2 Left Feet” returns to the boom bap speaking of poppin’ in the jungle on a weekly basis while “Rio” featuring Monday Night talks about the possibility of showin’ up to the capital of Brazil at some point before 2026 ends. “Green Room” ends the War Cash exchange bodying 1 last instrumental recalling a time where he was chillin’ backstage killin’ time until his set.

Hanzai wasn’t my favorite album Crimeapple dropped last year per se & I definitely wouldn’t place it in the hierarchy of his lengthy discography by any means, but War Cash comes merely less than 24 hours since it was announced with the most I’ve enjoyed a new project from him since Bulletproof Chicken last fall. Evidence’s production is a huge step-up from Hanzai’s varying between boom bap or drumless, suiting Crime’s mafiosi tales a lot more consistently.

Score: 4.5/5

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Boldy James & Ransom – “Salvation for the Wicked” review

Montréal, Québec, Canada producer Nicholas Craven masterminding a new collaborative EP between one of Detroit, Michigan’s all-time greats at this point Boldy James & Jersey City’s finest Ransom. Both of whom have crossed paths with each other on that “Live from the Roxy” single, but have worked with Craven on several instances from Fair Exchange No Robbery to Penalty of Leadership or the Director’s Cut series & Deleted Scenes duology. However as a fan of both MCs since high school, Salvation for the Wicked had me thinking we’d be in for the greatest extended play of 2026 so far only hours after Kyle Fletcher & テクラ respectively became the new AEW TNT Champion & AEW Women’s World Champion.

“Sinners” begins with a crossover between gangsta rap & drumless talking about how some people don’t have integrity these days whereas “Forgiveness” embraces a heavier rap rock vibe instrumentally asking for their shawties to forgive them before the liquor attacks their kidneys. “Collection Plates” featuring Young Chris finds the trio soulfully talking about their preference of catching plays than cases while “Offerings” shifts towards a jazzy boom bap direction to speak of making money.

O.T. the Real joins Boldy & Ran on “Field of Nightmares” stripping the drums again to talk about letting people run their mouths so they can run the streets of their respective hometowns & making elusive moves just before the celebratory “Leather Sandals” suggesting those who have wreaks stomachs should stay the fuck away from their kitchens. The final song “16 Tithes” ends Salvation for the Wicked with a blend of crooning chipmunk soul & jazz rap spitting intricate 16s each continuing to detail the life of a gangsta.

Only a month & a half into this new year & Nicholas Craven has brought 2 of his most notable collaborators together for what could possibly be the greatest collab EP of 2026 depending if anything comes close within the next 10 months. Boldy James & Ransom have already proven for over 2 decades that they’re master lyricists of their own, but combining both of their respective styles over Craven’s production comprised of a melting pot of sounds he’s become known for from boom bap & drumless to chipmunk soul & jazz rap.

Score: 4.5/5

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Sk8star – “Designer Junkie” review

Brand new debut album from Atlanta, Georgia recording artist Sk8star. Getting his footing in the spring of 2021 off Superstar Status, he would go on to follow it up last year with both the B4NWØ EP & his debut mixtape New World Ørder respectively. The latter being my introduction to Sk8’s music after my lil brody UnreleasedSnip put me on, with songs like “Standin’ on Business” & “YSL Flow” being the standouts for me personally. Following his 3rd EP Mogul along with rebel at the beginning of 2023 & whole new meaning that same spring, Sk8 addressed the Rebel in the Room & has since come off the Rebelution & Pale Fever signing with Island Records for the long-awaited Designer Junkie

“Incognito” strips the drums to get the us started thanks to Richie Souf talking about him taking Ls & playing his part whereas “Brazy Brazy Hoe” goes for an energetic trap vibe instrumentally speaking of him getting it out the mud. The 2nd & final single “ForMyFolks” produced by Nosaint of Vanguard Music Group gives off a futuristic trap atmosphere talking about being all the way over representing all of loved ones leading into “Muse” dabbling with regalia yearning to make a bad bitch his inspiration.

The title track hooks up some synthesizers & hi-hats talking about finally making it to the racks although not many people know what it took for him to get the cash steadily flowing while “No Compadre” hops over a rage beat so he can flex that everything he does is the greatest. “Yeannn” feels more like a Tezzus song since he’s handling the sole verse & Sk8’s doing the hook despite him admitting to loving bank deposits more than sex itself like any other person just before the lively single “Beret turns the hypertrap influences back up talking about staying on people’s heads.

“BleedLike Me” heads for a luxurious cloud rap direction talking about his competition not shedding blood the way he does while “PlayYaPart” reaches the halfway point with a psychedelic trap instrumental from Cade reflecting on going from droppin’ out of school to counting blue $100 bills regularly. The lead single “2 Sexy” interpolates Right Said Fred’s biggest hit “I’m Too Sexy” talking about the shooter sitting in the backseat of his whip being ready to get down to business while the synth-driven “Slatt Slatt” boasts of him being fresher than a peppermint.

Tezzus returns on the cloudy trap fusion “N.S.D. (N****s Start Dyin’)” telling all the losers to worry about themselves rather than spending all day constantly thinking of both artists’ hoes & finances while “Macon” treads the exuberant trap waters once again asking how this person he’s addressing ended up making out of the titular city. “Upper Echelon” bodies an exuberant trap beat from Taurus talking about reaching higher levels of quality within the past 3 & half years while “Roxy Paparazzi” goes full pluggnb admiring his girl’s beauty.

“All In” kicks off the final quarter of Sk8’s full-length debut blending cloud rap, trap & pop rap telling a stripper to work that pole while “Black Sheep” continues to pull inspiration from the regalia subgenre talking about his own personal experiences of feeling like an outcast. “R.I.P. Scooter” dedicates itself to the late Young Scooter who was killed in broad daylight on his birthday late last March & the closer “Nameless” cloudily talks about not changing shit if he had the chance to rewind time.

It’s been over a couple years since Sk8star initially announced Designer Junkie the end of 2023 & his major label debut culminates the long road he took to stardom surpassing every single extended play he’s made within the past 5 years. He’s evolved from the boy we met looking to reach Superstar Status in the midst of his own struggles to the man he’s become today, honing in on his chemistry with Richie Souf handling a great deal of the production & refining Sk8’s sound.

Score: 4/5

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