Tom MacDonald – “Proud to Be a Problem” review

Tom MacDonald is a 36 year old rapper, singer/songwriter, producer & former professional wrestler from Vancouver, British Columbia, Canada breaking out in the late 2010s off some of the worst singles of the previous decade from “Whiteboy” to “Everybody Hates Me” & “Straight White Male”. Tracks like “If I Was Black” & “People So Stupid” have also publicly professed himself as a racist & a transphobe, deciding to follow in the footsteps of Post Malone’s latest album F-1,000,000,000,000 by putting out a country LP of his own & his 9th overall.

“Can’t Cancel All of Us” is this country alt-right intro claiming the right-wing can’t be criticized for being what they’re are & denying that they have prejudice against minorities when he’s made numerous racist or transphobic lines in some of his previous material whereas “I’m a Rock” compares himself to his father. “Bad Bitch” bitterly wishes death on every ex-boyfriend this crazy woman he knows has ever had just before “Wildfire” sings about his life being a wildfire.

The religious themes of “Man in the Sky” as a spiritual person feel inauthentic when you think of “Hide a Body” singing about his murderous tendencies offering to hide corpses for the safety of his loved ones right away later. “Watch You Leave” disturbingly expressed the joy & sadness he simultaneously feels seeing this woman being taken away by the police, but then “Diana” likens people fiending for clout referencing the late Princess Diana’s tragic death.

“Walls” tries to gaslight Tom’s critics by playing the victim blaming other’s for his shortcomings when he’s done this numerous times in his career to this very day leading into “Broke My Heart” wining about a breakup that he caused himself. “Good Die Young” sings about the “hardships” that he goes through when his supposed struggles are pandering towards the right-wingers who self-victimize as much as him while “Superman” fuses country pop & singer/songwriter asking for the Warner Bros. subsidiary DC Entertainment-owned hero who’s set to begin the DC Universe media franchise & shared universe this summer to appear.

As for “Sinner”, we have this cringeworthy comparison of his love towards his girlfriend of 8 years Nova Rockafeller to the Heroin Hero joke in the timeless Paramount Skydance Corporation-owned Comedy Central series South Park’s parody of the Guitar Hero franchise almost 2 decades back while “Hell & Back” sings about being called a loser since 2nd grade when I find that to be the case almost a decade into Tom’s popularity. “Do Me Wrong” warns what will happen to those who’ll end up crossing him when I guarantee you he’s pussy as the rest of the edgelords he appeals to while “Ugly” deflects his girl’s self-image so he can make it into a “woe is me” type deal.

“Still Need Saving” seems like a deliberate & embarrassing bite of “I’m Not Ok” off Jelly Roll’s major label debut Beautifully Broken while “Good Man Badass” sings about being the capability of being those 2 things at the same time when he’s simply an bigoted, intolerant asshole more than anything. “Under Construction” dejects the idea of self-destructing when he’s literally selling himself out stylistically trying to make a bigger breakthrough than he should’ve had while “Perfect” serves as a failed attempt at tackling the insecurities women find themselves facing.

The song “Drunk Dial” reads as a conservative country answer to my favorite Drake alternative R&B cut “Marvin’s Room” with Tom getting completely shitfaced on the alcohol taking it upon himself to contract a girl he’s no longer seeing at 3 in the morning assuring she’s still in love with him when she most likely moved on like he did because “Goodbye Joe” by GFBF comes off as a forced Joe Biden diss. The title track further embraces a country sound in general for the final time continuing to pander towards the far-right suggesting that they should be proud of being unsolvable.

Like I said when I reviewed WWE Hall of Famer Kid Rock’s most recent album Bad Reputation: I’m NOT democratic OR republican because I personally believe both sides of our 2-party system are flawed as much as most people don’t want to have that discussion unfortunately. However, Tom MacDonald’s music throughout his career has appealed to closeted racist white men to feel he represents them by crying about the struggles he suffers as a white man & he’s been only amplifying it the last year or so. Hip hop never has & never will be the culture for a far-right white agenda, end of story.

Score: 0/5

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Roy Wood$ – “Dark Nights” review

This is the 5th EP from Brampton, Ontario, Canada rapper & singer/songwriter Roy Wood$. Signing to Drake‘s very own OVO Sound a decade ago already, he has since gone on to release a total of 3 full-length studio LPs & 4 EPs, with the most notable of the handful being the 2015 debut EP Exis & of course the debut album Walking at Dawn the following winter. Rolling Stone back in December felt like a bunch of uninspired Weeknd runoff & is looking to take us on a journey through the Dark Nights nearly 2 months since Drizzy followed the current 4-time WWE Women’s Tag Team Champion Liv Morgan on social media regardless of her on-screen relationship with the newest WWE Intercontinental Champion Dominik Mysterio.

“So Obvious” begins by talking about clearly seeing this woman in pain advising her to lay her problems out in front of him whereas “Stay with Me” after a brief interlude asks for his lover not to leave him & asking what he has to do for their love. “Whatchu Mean” comes off as another Weeknd bite addressing an individual who has no love for themselves just before “What I Used to Get Into” produced by Drumma Boy talks about being different as of late.

To start the 2nd half, “Like You” embraces an alternative R&B vibe continue to copy The Weeknd singing that he’s as fucked up as his romantic interest is while “You” asks how did he ever let this relationship go wrong. “Disrespectful” speaks on a woman who’s constantly talking over him & “Tell Me What I’m Living For” responds by saying respect isn’t hard to show.

Roy initially saying that Dark Nights was gonna mark a return had me hoping that he would improve from the lackluster reception his most recent output has been receiving, but it’s still the same ol’ generic alternative R&B & pop rap we’ve been getting from him in who knows how long at this point. I understand the situations of betrayal he’s been through are very much real, the execution of it is what leaves little to be desired.

Score: 2/5

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Fordio – “Fordi Milligrams” review

Michigan rapper Fordio releasing his full-length studio debut. Emerging in 2022 off his debut EP Foreva$camz, the follow-up Blame It on My Cup resulted the ShittyBoyz making him a member of their Dog $hit Militia collective signed to Lando Bando’s own The Hip Hop Lab Records dropping the Made & $tyle collab project with MJPaid & recently the Forever Juggin’ EP almost a year ago already. We literally got MJPaid’s own debut Paid Ponzi at the beginning of 2025 & here we are 3 months later with Fordio applying pressure on Fordi Milligrams.

“Rackz on Rackz” made for a cloudy Detroit trap intro imaging the YC & Future single of the same name whereas “No Lol” completely blocks out all the hate being spewed from the nosebleed section. “Aha” gives a spacious yet funky feeling to the beat making those who’ve turned on him regret their decisions while “Tell Me Sum” puts his faith in the drugs since he can’t trust a soul.

That subject matter gets delved deeper onto “Ain’t Feeling Luv” talking about taking percocets to help put him in a better mood leading into “Tryfe Lyfe” featuring Babytron refusing to give slices of their cheese since they’re too stingy with it. “Hot Boyz” featuring G.T. brings the pair together suggesting that people out here are more broke than they are tough while “Not Too Long” produced by Danny G talks about pouring up with 5 folks.

“Run” reaches the halfway point of the LP vowing to sprint until his legs don’t work anymore & counting his bread up until his hands go numb while “Dirty $oda Club” if you clearly couldn’t tell speaks of his love for sippin’ lean. “Jugg Anthem” experiments with plugg advising not to come around him if the loot isn’t a priority while “Y.N.B.W. (You N****s Better not Wait) talks about seeing millions coming in his dreams.

As for “IDK”, we have Fordio dismissing what others gotta say since he’s been in the v-cut & “PA All-Stars” featuring MJPaid & 72 Reezy unites the trio to talk about being the worst nightmare of any individual with nothing in their pockets until Baby Ghost outraps Glockboyz Teejaee on a song named after 6-time WWE world champion, WWE Intercontinental Champion, WWE tag team champion, 2-time AEW World Champion, inaugural ROH Hall of Fame inductee, ROH World Champion, 2-time ROH World Tag Team Champion & former UFC fighter “CM Punk” finally getting his WrestleMania main event last weekend.

“Leanin’” featuring Certified Trapper kicks off the 4th quarter of the tape trading verses over a lowend instrumental while “Overtime” suggests not to mind him or the crew whenever they pull up to your town. “72mg” oozes of psychedelia explaining that his heart is beating fast due to the drugs he’s consuming while “NeedDat” finishes the album talks about not being a fool whenever it comes to the bag.

Not too far off from Paid Ponzi several months back, Fordi Milligrams similarly to what that previously mentioned debut had done displays what Fordio has to offer by himself & makes me hope the other 2 members of the collective catch up to them with projects of their own. The production is a step up from that early material & despite a few features I could’ve done without, many of their verses rival Fordi’s.

Score: 4/5

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1300SAINT – “Saint Season” review

This is a brand new EP albeit YSL Records sophomore effort from Atlanta, Georgia up-&-comer 1300SAINT. Known for staying out of the box with a versatile sound & style drawing in listeners from all walks of life painting pictures of all colors & shapes to create a true experience for his audience, the heavy 808 based instrumentals he lays his smooth vocals over on his debut album Noir makes you feel every song a little more than usual & lead to Young Thug signing him to YSL not too long after he came home last Halloween. He made his YSL debut a couple months ago with All Hail & isn’t slowing down anytime soon by now ringing in Saint Season.

“Red Robin” kicks it all off with this trap intro talking about decapitating anyone who be playing with his team whereas “In Trouble” chaotically goes at the throats of the liable over a Rafmade instrumental. “Shogun” boasts that he’s mastered his levels of swag while “Seeumsayin” talks about it not getting any bigger than this. “Blakk Trukk” flexes his status as a star stemming from Day 1 & “Southside Forever” produced by London on da Track ends by showing love to his city.

For an EP, I’m still impressed with what Saint Season was capable of delivering & reinforces 1300SAINT’s rising status in trap music almost 4 weeks after 9 Vicious made his YSL debut Tumblr Music to more mixed-to-negative reception than All Hail received. A homage to SLIME S3ASON obviously, he continues to push himself artistically by carrying over everything that made his sophomore effort from a couple months ago the most beloved entry on his catalog.

Score: 3.5/5

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Salami Rose Joe Louis – “Lorings” review

This is the 6th studio LP from San Diego, California singer/songwriter & producer Salami Rose Joe Louis. Coming up almost a decade ago off her full-length debut Son of a Sauce!, the subsequent sophomore effort Zlaty Sauce Nephew caught the attention of Flying Lotus & he wound up signing her to Brainfeeder Records distributed by Ninja Tune. Her debut for the label Zdenka 2080 would become the most revered entry of her entire catalog, coming off Chapters of Zdenka & Akousmatikous to invite us all on a personal exploration of her own through Lorings.

“Inside” begins with a 2nd single fusing elements of neo-psychedelia, art pop, indietronica & space ambient singing about being lost inside this person’s love whereas “Motorway” finds Flanafi bringing in a guitar & some percussion to express hope of those roaming the unfamiliar streets having mercy on her. “That Must Be Hard for You” sticks out to me as a least favorite of mine & it has to do with the repetition than the subject matter until the 5th & final single “A Sauna Sized Pill” sings about Michael Caine hiding under a rock in plain sight.

Meanwhile on “I Dunno Ways”, we have Lindsay spending 72 seconds repeatedly singing about her being unable to play the game because she doesn’t know the way while the minimalistic “I’ll Never Say” finds herself refusing to show this person what’s really deep inside of her mind. “Crow, Friendship” sings about carrying a loaf of rye on here trying to befriend a group of birds she regularly sees outside of her apartment leading into “Hobbies” opening up regarding her stepfather telling her to find a pastime, which I’d have to assume is music.

“Basketball” ends the 1st half with this 2 & a half minute composition that feels bittersweet just before the lead single “Arm Fell Asleep” blends neo-psychedelia, art pop, indietronica & ambient pop sings about an experience she had when going boat sailing. The 4th single “Fill the Void” kinda reminds me of Toro y Moi in a way explaining that she likes to ride on faith until “Upstairs” relies itself upon its dreamy instrumentation.

One of my favorite tracks would be “Wet Log” simply because of the raw emotion packed into only a minute & a half while “Dribs & Drags” sings about getting up off the ground & wanting to see the person she’s addressing being content with life. After the melancholic “A Pool to Cry In”, the final song “Farewell” preceding the “ Fill the void // house by the lake // coda” outro ties up all loose ends confessing that she wants to start a family in addition to making her family proud & wanting her partner to be more stable.

Compared to Zdenka 2080 & Akousmatikous, I’m a bit disappointed to say Lorings could be the weakest opus of the 3 she’s dropped since signing to Brainfeeder since I’d rank it above it’s predecessor & place Zdenka 2080 above it. I have no issue with the vulnerably introspective approach to indietronica, neo-psychedelia, art pop, ambient pop, bedroom pop & glitch pop carving out her personality over the course of 43 minutes. That said: There are a handful of moments where it feels like I’m listening to half baked demos due to the amount of ideas that sound incomplete.

Score: 3/5

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M.M.M.F.D. – “Horrorcore” review

M.M.M.F.D. or Make My Muthafuckin’ Day is a horrorcore superduo consisting of Los Angeles, California wicked shit pioneer Cyco a.k.a. Insane Poetry alongside Denver, Colorado emcee & Lyrikal Snuff Productionz founder Scum. Introducing themselves off Random Acts of Violence as well as Unsubs & Butcher Brothaz, they would later begin the Deadly Drug trilogy with the 1st entry & the sequel Overdoze. Preluding the final chapter, they’re diverting from the concepts of both predecessors on their 6th studio LP.

“Then It Gets All Quiet” kicks it all off with a dark trap instrumental showcasing a back-&-forth deliver from both members suggesting to turn down the sobbing that only they can hear whereas “Monsters Among Us” works in some pianos talking about the inside of a book potentially being worse than it’s cover. “Devil’s Trident” featuring Smallz 1 finds the trio fucking people up with no mercy prior to “On That Sick Shit” keeps it wicked.

As for “Vengeance”, we have M.M.M.F.D. getting back on a trap vibe to get their revenge just before “Corpse of a Foe” heads for a boom bap direction suggesting that their enemies should’ve never tried to come at them in the beginning. “D.W.T.D (Dance with the Devil)” maintains a dusty edge to the beat telling everyone to observe them & Satans dancing in the pale moonlight, but then “Never Be the Same” talks about your chances of survival changing you forever.

“Brazen Bull” produced by Gibby Stites gets the 2nd half of Horrorcore started with another boom bap instrumental proclaiming that they’ve come to commit torture & the flames being hot while “In & Out” solemnly talks about punchin’ muhfuckas in the face in the middle of stab ‘em. “Soon” promises those being kept to rest will awaken & most will not survive while “Obey” brings a trap flare back to the table wanting a hostage to tell them what they know.

Hitting the final leg of the album, “2 Pumps & a Black Mask” assures they still have the Deadly Drug secured in a black bag & overdosing off the sick while “Let the Beasts Out” unleashes the demons from within to leave their opps hangin’ from a hook. “Head on a Spike” cautions their competition to stay away from them if they know what’s best & the closer “Stampede” puts the final nail in the coffin by talking about seeing only red.

Continuing to celebrate 25 years of Snuff, M.M.M.F.D. comes off this past Easter weekend by delivering what I consider to be the best offering from the LSP camp thus far this year & hope whatever they have planned to drop in 2025 maintains this caliber of gore hop. The production is generally a mix of boom bap & trap except the lyricism from the duo truly is Horrorcore at it’s purest in response to people now watering down the style & trying to pass it off as such.

Score: 4/5

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Double Dragon – “Big Trouble with Double Dragon” review

This is the sophomore effort from underground superduo Double Dragon. Consisting of Louisville, Kentucky emcee & Mobstyle Music founder Bukshot as well as San Jose, California goth hop pioneer Kung Fu Vampire respectively, these guys made their eponymous debut as a unit in the beginning of 2021 taking their chemistry to new heights after making a name for themselves individually for the past few decades & collaborating with one another on several instances. 3 years later, they’re reforming to break down the Big Trouble with Double Dragon.

After the “Dragons of the Black Pool” intro, the first song “Big Trouble” produced by MIKE SUMMERS a.k.a. 7 works in a Chinese sample & elements of horrorcore getting pleasure of tasting blood whereas “Ruthless” ominously talked about the ruthlessness of the duo that has been absent for 4 long years. “Out the Mud” featuring C-Mob reflects making it after coming from absolutely nothing just before “Creatures” talks about leaving the Double Dragon imprint in your forehead when it’s all said & done.

“Nemesis Me” hooks up a prominent vocal sample during the hook breaking down the concept of being your own worst enemy leading into “Mushroom Clouds” talking about having a blast & turning the speakers all the way up loud. “Gods of War” featuring Str8jaket dabbles with trap metal letting it be known we’re in the middle of the apocalypse while “Lurkers” talks about Double Dragon being creators & advising to respect the shooter.

As for “In the Void”, we have Bukshot & Kung Fu Vampire wickedly discussing the clouds turning black & hearing white noise until “Where the Pieces Fit” brings Buk Norris at the altar looking for forgiveness figuring put the placements of these metaphorical puzzle pieces. “Sun Don’t Shine” featuring Gorilla Voltage brings both duos together to bring karma on your doorstep, but then “Cooler in a Coffin” suggests one would look better off dead.

“Never Say Die” hooks up these pianos & bells throughout that I find to be pretty infectious asking to be taken back during the days of Saturday morning cartoons during the 1980s & the Golden Era of the Endeavor-owned TKO Group Holdings division WWE coming off WrestleMania XLI with John Cena defeating Cody Rhodes to surpass Ric Flair as a 17-time WWE world champion & the current TNA World Champion Joe Hendry being 14-time WWE world champion Randy Orton’s mystery opponent.

The song “Black Smoke” warns where those who’ll be disrespecting the Double Dragon will be taken & the closer “Stranger Things” featuring Joey Cool wraps up the final moments of Big Trouble with Double Dragon by homaging the hit Netflix sci-fi, horror, drama, mystery & coming-of-age series created by The Duffer Brothers currently finishing & gearing up the release of its upcoming 5th & final season at some point later on in the year.

When you look at the fact that both members of Double Dragon grew up in the 80s, it only makes sense for them to do a sophomore effort inspired by the film Big Trouble with Little China because the listening experience will be enhanced for anyone who’s seen that movie. Any huge fan of 1980s pop culture & hidden Easter eggs can say it does a little extra for you if you familiarize yourself with the movie on top of 7’s quality production & the chemistry feeling tighter.

Score: 4/5

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Fly Anakin – “(The) Forever Dream” review

This is the sophomore effort from Richmond, Virginia emcee Fly Anakin. Starting out roughly a decade ago, he first caught my attention in 2018 after being featured on Ankhlejohn’s magnum opus Van Ghost & started to gain even more exposure when he & Pink Siifu dropped their collaborative effort FlySiifu’s. His full-length debut studio album Frank that celebrated its 3-year anniversary last month was a great way of him honoring his father & is coming back to address (The) Forever Dream.

“Good Clothes” starts by talking about getting his mind right around the time of the COVID-19 lockdowns in 2020 & not needing to ask for forgiveness since he’s been taking what’s his whereas “Teen Summit” strips the drums thanks to Quelle Chris so he can try to build before going back. “My N***a” featuring Big Kahuna O.G. & $ilkMoney samples “Awaking of Our Senses” by Argo for a dedication to brotherhood while “Lil One” addresses an individual who wants something when he already owes something over a Micall Parknsun beat.

Lojii appears with Fly Anakin on the drumless chipmunk soul track “Check on Me” produced by August Fanon asking for their romantic interests to check & see how both of them are doing just before “Not Too Shabby” featuring Nickelus F, Quelle Chris & $ilkMoney brings the quartet together to talk about being closer to their dreams. “Lord Forgives, I Hold Grudges” featuring Denmark Vessey & Pink Siifu is pretty much their way of saying “god forgives, I don’t” leading into the string-laced “The Times” talks about his squad having most of their heads screwed on.

“Forever Dream” takes the drums out of the equation again painting a picture as if he’s Vincent Van Gogh while “Corner Pocket” featuring BBYMutha produced by The Alchemist gives a shoutout to themselves since they got money on the way. “YOUGOTME!!” after the “Dr. Phil” skit discusses being heartbroken after giving this woman everything & after the “Foreverever Dream” interlude, the soulful closer ”Say Thank You” featuring Pink Siifu & Turich Benjy ends by poignantly giving thanks to God.

Some of the most experimentally ambitious material of Fly Anakin’s career winds up on (The) Forever Dream bringing together a collection of bright, diverse & downright gorgeous underground hop hop hip hop that’s so light-on-its-feet to the point where it can sometimes feel like it’s sweeping you off yours. I prefer the production here a little more than Frank because of the way utilizes relentlessly sunny & imaginative instrumental flourishes tilting its tracks from laid-back to cocksure to thoughtful with the elegance of a well-executed magic trick.

Score: 3.5/5

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Kardashev – “Alunea” review

Kardashev is a deathcore & deathgaze band from Tempe, Arizona consisting of drummer The Great Filter, bassist Alex Rieth, guitarist Nico Mirolla & frontman Mark Garrett. Introducing themselves a decade ago off their full-length debut Peripety, they returned in 2022 by signing with Metal Blade Records for their sophomore effort Liminal Rite putting a bigger emphasis on post-metal. However, they’re linking back up for their 3rd studio LP & the 2nd since Metal Blade brought them onto the label.

“A Precipice. A Door” explores themes of loss, memory & the search for identity in a post-apocalyptic setting to kick off their sophomore effort under the high profile indie label whereas “Reunion” fuses deathcore, post-metal, post-rock, shoegaze, progressive metal, technical death metal & doomgaze singing about responsibility & the ethics of creation.

The final single “Seed of Night” works in elements of progressive metal, post-metal shoegaze, post-rock, deathcore reclaiming all what is gone from their perspective leading into “Speak Silence” featuring Genital Shame brings in these clean vocals at the start ahead of the breakdown asking what came before the sounds of silence did leading into “Truth to Form” sings about finding identity & morality during the human experience.

“Edge of Forever” & “We Could Fold the Stars” featuring Pawel J.J. Przybysz starts the final portion of Alunea by taking Kardashev’s ability to create massively soaring moments & crank them all the way up to 11 that is until the closing track “Below Sun & Soil” found them challenged to keep the spirit of the 2012 track “Pillars of Creation’s” spacey emptiness & turn it into a story closer humanizing it’s characters & indulgers alike

A direct sequel to the events of The Almanac & picks up right where the song “Beyond Sun & Moon” leaves off, Alunea tells the story of the main character from The Almanac meeting a being created in the song “Continuum” from Excipio that becomes a philosophical examination of where responsibility & duty intersect. Kardashev doesn’t explicitly attempt to answer those questions, yet rather examine them deeply.

Score: 4/5

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Samia – “Bloodless” review

Samia is a 28 year old singer/songwriter from Los Angeles, California introducing herself in the summer of 2020 during the COVID-19 pandemic by signing with the Fat Possum Records subsidiary Grand Jury Music for her acclaimed full-length debut The Baby for it’s take on singer/songwriter, bedroom pop, indie folk & indie rock. Her sophomore effort Honey later came out at the start of 2023 to more moderate reception in comparison to The Baby although the alt-pop & ambient pop influences were a nice change of pace, coming back almost 2 & a half years later for her 3rd studio LP.

The first song “Bovine Excision” after the “Biscuits” intro was a great choice of a single from it’s singer/songwriter, indie rock, alt-country & indie folk sound to the lyrics expressing her desire to be untouchable whereas “Hole in a Frame” sings about a fascination with disappearing & the power of absence. “Lizard” describes wanting to live up to the person she became in someone’s head until “Dare” finding this person’s intentions unclear.

“Fair Game” promises that said individual won’t get their blood back regardless if they can go outside on a hot night & clap, but then “Spine Oil” sings about coming to terms with her joy constantly being mistaken for weakness & everything not coming down easy whatsoever. “Craziest Person” admits to always trying to find anyone who sticks out as being the most unhinged whenever she steps in a room while “Sacred” sings about an ex never losing her the way he hates her presently.

Meanwhile on “Carousel”, we have Samia blending indie rock, art rock, neo-psychedelia slacker rock, neo-psychedelia & singer/songwriter showing a cathartic side to her songwriting abilities while “Proof” is an apology to those she’s pushed away as soon as they started to know me. “North Poles” takes inspiration from her close friend & collaborator Raffaella that is until “Pants” delves into the endless often fruitless search for a version of ourselves.

Almost 2 & a half years later, Samia endeavors to disinter the self buried beneath these carefully constructed personas by reaching a place of acceptance for her whole & imperfect being. She confronts the person she became in order to impress this imagined figure inseparable from who she is today displaying influences of singer-songwriter, indie folk, indie rock, indie pop, bedroom pop, indie rock & alt-country.

Score: 4.5/5

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