Port Arthur, Texas emcee & entrepreneur Bun B returning for his 7th studio LP. Coming up as 1/2 of the iconic duo UGK over 3 decade ago, he eventually released his solo debut Trill in the fall of 2005 & & began focusing towards his solo career a few months after UGK’s self-titled double album when his cohort Pimp C passed away. Bun went on to release 5 more albums, with the last one being the Cory Mo-produced Mo Trill & to which Way Mo Trill serves as an official sequel to ahead of it’s predecessor turning 4 in a few months.
“There He Go” featuring 8Ball & MJG starts with them forever staying on the grind every minute & every hour whereas the final single “Everywhere We Go” by UGK featuring Juicy J & Project Pat talks about representing the south regardless of where they’re at. “Better Believe It” featuring LaRussell co-produced by DJ Toomp pulls from gospel a bit flexing that they’re back bigger & better while “I Can’t Lie” featuring Monaleo & Scotty ATL after the “Queenie Keeping It Trill 2” skit finds the trio talking about not letting hoes ride with Ray Murray of Organized Noize handling co-production.
Killa Kyleon & Young Dro appear for the soulful lead single “Can’t Stop My Hustle” refusing to pump the brakes in terms of hustling while “Down in the South” featuring Akeem Ali & 24hrs talks about bumping country rap tunes in the ride driving around the city. Woodie Woo joins Bun in clarifying that they’re “Still Outside” & after “N****s Ain’t Right” featuring Z-Ro calls out the frauds, Jay Worthy alongside Legendary Baller & Scar get together with Bun to “Put You on Game”.
Starting the deluxe run, “Be About Some Bread” featuring Talib Kweli joins forces over sample-based trap instrumental advising to get the fuck out the game if you don’t even know how to play it when they’re absolutely correct about it while the final bonus track “Fight Music” featuring Grafh & Termanology finishes up with all 3 of them over some horns & hi-hats for a song either the WWE or the UFC divisions of the WME Group-owned TKO Group Holdings would include in a future video game soundtrack.
Unfortunately as much as I enjoyed Mo Trill for it’s demonstration of Bun B & Cory Mo’s artistic chemistry approximately 3 & a half years earlier, I wouldn’t consider the sequel to be on par with the predecessor even though I’m very much torn coming away from it. Not because of Cory’s dirty south/trap production or the killer lyricism from the founder of II Trill Enterprises & Trill Burgers, but mainly due to the opinion that the list of guests subtly tones down in consistency.
Lefty Gunplay is a 29 year old rapper from Baldwin Park, California who began his music career in 2023 after a prison stint. He has since dropped 6 full-lengths & an EP, including an outro on “tv off” from Kendrick Lamar’s 6th album GNX around this time 12 months ago. Can’t Get Right produced by Jason Martin formerly known as Problem would become his most celebrated work this spring, coming off Ghetto Heisman‘s mixed reception to have Jason produce his 2nd EP alongside Mike & Keys.
“C-Murder Flow” opens with a homage to the wrongfully incarcerated member of TRU himself almost 2 weeks after No Limit Records smoked Cash Money Records at the Verzuz occurring at ComplexCon whereas Jiggy works in a vocal sample so he can talk about nobody being in his division. “Califa” featuring MC Davo & pfacebabyy finds the trio decently flexing that they’re catching fades throughout the city leading into “M.W.A. (Mexican With an Attitude)” eerily talking about being Hispanic & having an N.W.A mindset.
The song “She Fell in Love with an Ese” beginning the final leg of I Told You So asking if there’s a single person out in the streets who can outrun his gun while “Story of My Life” featuring Coyote, Cricket, Jason Martin & pfacebabyyy gets together over some horns so they can talk about being in the position of making their own rules. The title track ends the EP in the most appropriate way imaginable from the summery guitar instrumental to the lyrics promising that he wouldn’t break his lovers’ heart.
Ghetto Heisman earlier this fall was a little disappointing compared to Can’t Get Right mainly because the production & guests simultaneously felt all over the place in terms of consistency, not quite reaching the bar of WC’s sophomore effort of the same name under Def Jam Recordings over 2 decades earlier. Now regarding I Told You So, it comes off to me as an amalgamation of Ghetto Heisman‘s inconsistencies & Can’t Get Right‘s refinement of Lefty Gunplay’s whole entire Chicano/west coast style.
This is the 4th studio LP from Inglewood, California emcee & songwriter Domo Genesis. Starting in mid-2009 as a member of the now defunct Odd Future collective, he’s gone on to give us 3 full-lengths accompanied by 4 mixtapes & an EP excluding the Facade Records trilogy within the last dozen years, my personal favorites of which being his debut mixtape Rolling Papers, The Alchemist-produced 3rd mixtape No Idols, the Evidence-produced debut EP Aren’t U Glad You’re U? and sophomore effort Intros, Outros & Interludes. Doms’ last album What You Don’t Get!? produced by Graymatter had a more drumless sound & coming off World Gone Mad this summer, they’re advising any & all competition to Scram!.
“Sheddingweight” begins with a delicately drumless beat talking about being paid in pounds & not needing any extra baggage whereas “Makemealilmoney” takes an orchestral route instrumentally looking to get paid. “Goodgracious” talks about time waving the long hand wondering how fast it’ll prior to “Clocking2u” featuring Evidence bodying a bare sample together.
Moving on from there, “Money” discusses the most important thing that builds his ego with a more suspenseful sound just before the calming “Dedication” talks about always staying on his feet even when he’s sleeping. “Kurtrambis” kicks off the 2nd half reminding that he’s been running up numbers & others being too afraid to call it the way it is while “Deyknow” references 2-time WWE Hall of Famer, 14-time WWE world champion, 5-time WWE Intercontinental Champion, 3-time WWE tag team champion & the WME Group-owned TKO Group Holdings division’s CCO Triple H.
“Plainface” brings some synths into the fold speaking of those trying to use his likeness while the heavenly “Tiresmoke” talks about letting bullshit breathe instead of drawing guns. “Buenosnachos” chops up a soul sample to advise that his latest efforts aren’t a tone else’s honors while “Everythingimnot” featuring 3wayslim talks about changing in many ways. “Pray4u” wraps things up with a message to a person he loves more than himself.
Finally accepting himself at face value, Scram! sorta feels like everything that makes Domo Genesis who he is combined into 1. Graymatter’s production more soulful than What You Don’t Get?! & World Gone Mad were, both guests were refreshing to hear as much as I enjoyed both predecessors for holding the fort individually & Doms pens what could very likely be the most abstract lyrics of his entire career accepting himself at face value.
Here is the 5th EP from Compton, California emcee, songwriter & producer Jason Martin. Originally known as Problem, he would go on to release over a dozen mixtapes as well as 4 full-length studio albums & 4 EPs. Can’t forget to mention both collaborative efforts DJ Quik, the first being Rosecrans back in 2017 & the follow-up Chupacabra days before Kendrick Lamar’s now historic 1-off Pop Out concert at the Kia Forum. 52 weeks since Repack produced by Mike & Keys, they’re heading to the Mafia Cafe merely 6 weeks following A Hit Dog Gon Holla.
“I Can’t Tell” sets the tone with a drumlessly jazzy instrumental reversing his opposition’s plays whereas “When Will They Learn?” & after “Check It Out” skit embraces a chipmunk soul vibe talking about being in Jamaica backflipping off yachts. “Expensive Rentals” brings back the jazz reminding that Coffee & Kush are great for the mental just before the soulful “Choices” hones in on Jason’s storytelling abilities, portraying a conversation taking place over the phone.
We get some jazzy horns during “Black Entertainment” breaking down the industry as a whole leading into “Cafalonia” drumlessly wittily talks about sipping a latte smoother than Sade’s music. “Pity the Fools” soulfully references WWE Hall of Famer Mr. T & after the hilarious “Akademiks Finally Says Something Worth Listening To” skit, “Tricky Times” jazzily speaks of some harsh realities despite the fact that he got to “Stay Fresh Through It All”.
Not even a couple months since A Hit Dog Gonna Holla & the 3rd extended play from Jason Martin within an entire year quickly surpasses the one that recently came out earlier this fall. Mike & Keys’ production on this one is more sample heavy than it was last time, chopping up records from the jazz & soul genres to provide Jason more than enough space for him to step up his pen-game.
Chicago, Illinois rapper & songwriter G Herbo making his Uptown Records debut with his 9th LP. Breaking out over a decade ago off his debut mixtape Welcome to Fazoland, the resulted in him earning a spot in the legendary 2016 XXL Freshman Class along with 8 full-length albums, the previous ones being the 2-disc Survivor’s Remorse & more recently Big Swerv. Almost 4 & a half years since making his Republic Records debut 25, the artist formerly known as Lil Herb had been moved over to the relaunched Uptown subsidiary so he can take it back to his origins.
“Every Night” begins with a soulful drill instrumental talking about reasonably crying nonstop when his brother passed away whereas “Reason” produced by Don Cannon made for a promising lead single flexing that he’s why people have left the block to become rich, only to return. “Longevity” finds himself feeling like no one can fuck with him although the beat doesn’t move me the same way Southside & Smatt Sertified’s on “Blitz” does, using it to show off his champion status.
We get some strings & 808s meshing with one another during “Radar” asking if anybody listening has ever lived through a nightmare leading into “Where Would I Be?” referencing No Limit Records, who whooped Cash Money Records’ asses at the Verzuz occurring at ComplexCon a couple weeks ago. “Win Again” talks about forever stickin’ to the code for a W just before “1 Chance” reaches the halfway point encouraging the world to not blow their shot.
“Emergency” featuring Wyclef Jean finds the unlikely pairing joining forces over a Turbo instrumental to talk about having bullets piercing through their hearts while “Fallen Soldiers” remembers Juice WRLD, King Von & Pop Smoke respectively. “Give It All” talks about trading the money & fame for a chance to see his brother again while “Whatever U Want” has to be one of the weaker moments of Lil Herb moderately dabbling with pop rap.
The song “Thank Me” featuring Anderson .Paak gets together over some horns sampling WWE Hall of Famer Snoop Dogg’s historic Hollywood Walk of Fame speech right when you press play feeling grateful that neither of them went broke while “Colossal” credits staying on top of business & logistics to him going hard. “Went Legit” concludes the album telling his rags-to-riches story looking back at the days when he had nothing to his successes, but the “Lil Herb Freestyle” starts the deluxe run with that “Ether” flow.
“Ran Thru” talks about making a career out of his pain while “This n That 2” boasts that he was riding around in phantoms before he even got his driver’s license & proving the world isn’t bigger than him for the last 15 years. “Hold My Hand” makes classy usage of sampling to prefer being honest of having no love towards fake shit instead of keeping it to himself while “No Bap” talks about being the only one paying out the bill whenever it’s due.
Moving on from there, “I Did” decently boasts of him winning big time & prevailing in any situation while “Thug” samples “Thuggish Ruggish Bone” by Bone Thugs-n-Harmony gets back on his gangsta shit lyrically carrying a Russian AK & a bottle of malt liquor. “Go” talks about him constantly being on the move touring state to state while “Swerv n Em” featuring Big Opp & Doo Wop finds the trio over a Hitmaka beat for an underwhelming gangsta rap joint where Herbo has the best verse.
“Neva Going Back” makes it clear to everyone listening that he won’t be on some basic shit ever again now that he’s famous while “Outta Bounds” featuring Big Opp & Polo G finds the trio dropping verses without the need of a hook although Polo had the better guest appearance. “Mad People” talks about Herbo not owing anyone shit & no one having the ability to say he switched up while “Brown Skin” featuring Skilla Baby talks about black excellence over an Honorable C.N.O.T.E. instrumental.
Pop rap & trap get blended for “D.N.D. (Do Not Disturb)” featuring Ty$ expressing the love for the baddies they flew in from outta town while “Prayers” flips “Player’s Prayer” by Lloyd confessing that he’s been continuing to fuck around. “End of the Tunnel” featuring YK D mediocrely talks about both of them being hustlas & everything being on God’s timing until Southside & Smatt Sertified make up for it soundtracking the autobiographical “Story of a Thug” feeling like every day’s a repeat.
“Steel” talks about him choosing to rap the pain he’s felt carrying his firearm at the stop signs still while “Because of You” flexes going from the bus to a luxurious truck. “I Tried” talks about the problems in his life that he legitimately put effort into resolving & after “October” likens life to a rollercoaster, the final bonus track “How Can I Lose?” ends Lil Herb talking about not playing by the rules or honoring shit.
Needless to say: G Herbo’s last couple of projects have ranged from being average at best to uninspired at worst, so his Uptown Records debut here seemed like he would go back to what made him so popular over a decade ago & it’s exactly what he does sure enough. The production is the most Chicago drill-oriented since possibly 25, which makes up for Survivor’s Remorse & Big Swervo’s mixed-to-negative reception due to the way they both distance from that very sound & the passion of Welcome to Fazoland has been revived in a new incarnation.
Carson, California rapper Reason finishing his 2025 with his 2nd EP. After releasing his first 4 tapes, Top Dawg Entertainment signed him in the middle of 2018 by reissuing the one that landed him the contract in the first place: There You Have It. However, his official full-length debut album New Beginnings received more mixed reception when it came out the fall where COVID had the whole world shut down & Anthony “Top Dawg” Tiffith’s son Moosa subsequently got into a heated exchange of words with Reason the week Porches dropped saying former employee & pgLang co-founder Dave Free regrets even signing him in the first place. I Love You Again came out 8 months ago under his own label Do More Records, which preluded Everything in My Soul_Blue.
The soulful trap instrumental on “Pity Parties_BLUE” was an immediately intriguing way to start us off talking about being known for slam dunking as if he’s Vince Carter prior to “Lie to Me_BLUE” pretty much channeling the frustration of being lied to in a relationship. “Paralyzed_BLUE” featuring Westside Boogie finds the 2 talking about love being stiff while “Idols & Rivals_BLUE” featuring Kai Ca$h continues with them feeling like they’re spiraling.
“Liu Kang_BLUE” begins the 2nd half of Everything in My Soul_BLUE bringing a summery vibe instrumentally referencing the Warner Bros.-owned Mortal Kombat character of the same name & once “There’s Pain in Photos_BLUE” takes the pop rap route stylistically talking about pushing through his lowest points & praying to stay focused, “Thass My Word_BLUE” concludes the EP with a cloudy trap beat trying to see who’s really all in for action like they claim
Starting the deluxe run, “GodLines_BLUE” drumlessly feeling as if people take time with his demons rather than taking time to get to know him personally while “Red Rose White Ceiling_BLUE” featuring Jayson Cash talks about nobody being able to walk their shoes. “Crab Cakes at Joeys_BLUE” tells the story of a woman sleeping with an A&R in hopes of launching her career & the final bonus track “Brittany Renner_BLUE” finishes on some boom bap shit sending prayers to the popular social media model.
Apparently said to be the inaugural entry in a new ongoing series of extended plays & despite remaining optimistic regarding however many installments are being planned, Reason begins this new era of his career moderately. I can admire the personal topics he addresses coming off I Love You Again renewed passion for songwriting & recording, but the moodier direction in sound can be hit or miss.
Detroit, Michigan emcee Danny Brown staying with Warp Records for his 7th LP. Emerging as a member of the Rese’vor Dogs in the mid-2000s, he would go onto form the Bruiser Brigade at the start of the previous decade & put out his debut album The Hybrid shortly after. 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 debut Atrocity Exhibition. Coming off uknowhatimsayin¿ in 2019 & what was originally supposed to be his final Warp Records album Quaranta, the Motor City’s finest has decided to stick around & have them drop Stardust.
Quadeca’s ethereal instrumental on “Book of Daniel” matched with Danny’s lyrics confidently talking about making it by the end of the night couldn’t have been a perfect combination to set it all off whereas “Starburst” fuses experimental hip hop, hardcore hip hop, industrial hip hop, bubblegum bass, trap, hybrid trap, deconstructed club, poetry & wonky for a speechless 2-parter showing no pity for a clout-chasing succubi.
“Copycats” combines pop rap, electropop, electro hop, electro house, grime, hyperpop, electro hop, dance-pop & bubblegum bass into 1 thanks to underscores expressing the importance of staying authentic in a world full of imitators just before “1999” featuring JOHNNASCUS works in some skittery synthesizers from the former Spider Gang member himself to tell us that the world truly ended a quarter of a century ago referencing Y2K.
Meanwhile on “Flowers”, we have Danny over an EDM beat talking about persevering through the hardest times of his life leading into “Lift You Up” embracing a hip house vibe instrumentally suggesting to move slower as a result of things going too fast. To conclude the 1st act, “Green Light” shifts towards a bit of an industrial hip hop/pop rap direction telling the love of his live that nothing won’t stop him from giving.
“What You See” reunites with Quadeca to begin the 2nd half on a colorful note wanting to know what their lovers see in them specifically & once “Baby” featuring Rodney Chrome finds the pair coming together to talk about being the perfect type of guys, ISSBROKIE joins Danny during “Whatever the Case” so they can clarify to those in pain due to their hustle that they won’t be knocked off their axis.
Femtanyl’s drum & bass influence throughout “1L0v3myL1f3!” is pretty cool talking about enjoying how things are going in his life because he has his paper up right when some tried counting him out while “Right from Wrong” advises to continue the journey & focus more regarding what’s ahead of us. “The End” featuring Ta Ukrainka links up for a bilingual 3-parter produced by Cynthoni & Quadeca, but “All4U” featuring Jane Remover stands as the true outro doing everything for those who take the time out to listen to their music.
Not to be mistaken with the lowest point of the current 2-time WWE Champion Cody Rhodes’ entire career, Stardust isn’t necessarily superior compared to Atrocity Exhibition but what I can say that it’s an admirable foray into electronic dance music after getting sober. He’s essentially telling about his recovery from addiction & finding joy in art again through the lens of a 90s-era semi-autobiographical popstar named Dusty Star additionally exploring the styles of pop rap, hardcore hip hop, bubblegum bass, deconstructed club, hyperpop & industrial hip hop.
Charlotte, North Carolina recording artist BigBabyGucci finally releasing his 3rd mixtape. Starting almost a decade ago off his debut EP ART HOE Collection, he would continue to build a name for himself by putting out 19 more EPs as well as 6 full-lengths & his last couple tapes along the way. When U Wake Up, When You Go to Sleep, Baby 5 & the heavily alternative ANTI have all become his strongest material of this decade although I can’t the same for Isolation 2.5 a month after the latter. Internet Explorer was a fun redemption for himself & 5 months later, And When I’m Alone looks to keep his foot on the necks of his competition.
“Geeski” opens with an industrial hip hop intro talking about not knowing who the fuck he is anymore after coppin’ Plain Jane whereas “Earth” carries over the industrial vibes immensely sticking to the point because he can’t switch up on himself. “Life of the Party” instrumentally feels reminiscent of Indicud down to the utilization of auto-tuned vocals talking about being sociably lively while “Always Sunny” hopes his girl gives him another chance.
Austin Skinner makes the 1st of 2 guest appearances on “Pipe Down” talking about life seeming like a dream to them whenever they’re high just before “Blue in the Mouth” embraces a rage-inducing atmosphere flexing that his trap’s so crazy that he had to open up his own store. “Gangy” confesses that he isn’t trying to get out of his element anytime soon since he’s not in the usual mood leading into the 808s & Heartbreak-inspired “How Many Shots?” talks about puttin’ muhfuckas back in place.
“Talk to Me” hooks up some sampling chops boasting that a baddie has been watching him shine out here & trying to shoot her shot with him while “Smoke Break” appropriately embraces a slower direction in sound to kick off the 2nd half talking about getting high. “777 Angel Business” featuring Austin Skinner pulls from industrial hip hop once again dripped up in camo ア・ベイシング・エイプ until singing over some synthesizers that his girl wants to meet “By the Lake”.
Moving on from there, “In Sync” distortedly suggesting he better be cautious of how things are becoming all bad while “Death Note” talks about leaving anyone who pulls up on him resting with the dead. “Toonami” co-produced by Nico Baran of Internet Money Records gets reminiscent of the days watching the titular [adult swim] block of the Discovery Global subsidiary Cartoon Network while “Deep Dive” (3AM at Isabelles)” talks about the real ones always shining in the dark.
“No Molly” starts the final leg of & When I’m Alone running up his bands since he’s been grindin’ like the rent’s due while “All Me” talks about a lot being on his mind to the point where sometimes he wishes he’d pass away in his sleep, to which I say God forbid anything like that happens. “Saint Laurent Don” featuring Alois sends off BBG’s 2nd solo effort of 2025 with an outro reminiscent of the pairing’s collab EP Pastel earlier this spring while “Percs & LSD” begins the deluxe run talking about tripping off those 2 drugs specifically.
Hearing an excerpt of Malcolm X’s historic “Who Taught You to Hate Yourself?” speech sampled at the beginning of “Pray for Me” was dope confidently ready to hit a new level while “Passenger” talks about being untouchable. “Chasing the Moon” confesses to getting high because he doesn’t like the way he feels sometimes while “Cherry Red Seats” talks about being more toxic than he is lit. The final bonus track “Fear the Enemy” officially concludes with him responding to those claiming he peaked by keeping his mouth shut.
In preparation of House of Mirrors and Soda & Syrup 2 both coming within the next 52 weeks, & When I’m Alone embodies the blend of pop rap & trap that has made BigBabyGucci stick out for almost a decade. Coming off the heels of bbno$ biting him or most notably Drake on the Pusha T sneak diss “That’s Just How I Feel” off Drizzy’s upcoming 11th album Iceman, the North Carolina rapper/producer sticks to his guns except it’s more influenced by both members of KIDS SEE GHOSTS.
Atlanta, Georgia emcee Jay NiCE & the local Dump Gawd himself Tha God Fahim are back for their 5th collaborative EP. Both of whom have worked with each other countless times in the past several years, teaming up for the collab album Strictly 4 My D.U.M.P.E.R.Z. during the spring of 2018 & the Bloodspiller EP almost 3 years ago. Dump Gawd: Hyperbolic Time Chamber Rap 12 produced by Nicholas Craven became their greatest joint offering yet, coming off the 17th & 18th chapters to run it back for the 20th.
“Panamera” soulfully sets the tone with both of them talking about their flows leading to streams & income whereas “The Yolk” takes a funkier approach instrumentally bodying MCs in a gruesome manner. “Take It on the Chin” calls out those with phony actin’ over some pianos just before the colorful “Destruction Ability” discusses the crowd of people shittin’ on their consistency.
The song “Abandon Ship” counts down Dump Gawd: Hyperbolic Time Chamber Rap 20’s last 6 minutes or so with a soul sample talking about thriving in their current positions while “Deadlifts” hops on top of a flute to brag that nobody can do it hotter than them. “Cold Steel” finishes up the EP using some sampling techniques 1 last time talking about their cosmic influence.
5 episodes deep into season 2 of the Dump Gawd: Hyperbolic Time Chamber Rap saga, 60% of them including this latest entry have all been collaborations with Jay NiCE except this one might be the best since 12 when speaking of his & Tha God Fahim’s shared output. Of course you can’t go wrong with Nicholas Craven’s production, but both southern hip hop artists that’re on the mic together step up their chemistry compared 17 & 18.
Wouldn’t be a Halloween without the 21st mixtape from Queens, New York emcee Lloyd Banks. Gaining notoriety in the 2000s for his witty punchlines along as well as being an original member of G-Unit alongside childhood friends 50 Cent & Tony Yayo, he kept himself busy for a little while after the group’s disbandment in 2015 by releasing A.O.N. 2 (All Or Nothing 2): L.I.U. (Live It Up) & Halloween Havoc 3: 4 Days of Fury just before taking on a 5-year hiatus that really lasted until he received a song placement on the soundtrack for Griselda Records’ theatrical debut Conflicted along with the whole Course of the Inevitable album trilogy gaining renewed interest in the PLK himself. 6 months following A.O.N. 3: (All or Nothing 3): Despite My Mistakes, it was only a matter of time until we got Halloween Havoc VI: The 6 of Swords.
“Addition by Subtraction” starts with a drumless chipmunk soul instrumental from Cartune Beatz talking about cropping pictures because some people don’t belong in them whereas “Eat What You Kill” promises to make the music split people in half like he’s slicing their faces with a razor blade. “Book of Records” goes for a bit a boom bap direction talking about not slowing down because he can’t afford to do so leading into the grisly “If Time Permits” looking to get everything on the table.
As for “Haddonfield”, we have Lloyd over a chillin vocal sample providing mayhem to the masses just before “Supposed to Be” hooks up a soul flip to talk about how things are meant to unfold from his perspective. “Die Slow” experiments with trap a bit explaining that he’d rather be living fast while “Save a Spot” profoundly finishes the 1st half talking about time continuously flying away & the race again against has all been by design.
“Made a Fool of Me” works in a boom bap instrumental that Haas Almahdi cooked up with some cumbersome piano chords speaking of disloyal people & love being cancelled to some while the cloudily raw “Changed Up” talks about people switching on him. “The Eye Test” brings some organs into the fold ready to 187 microphones for the 718 while “It Ain’t Going Well” confesses he hasn’t been doing all that greatly for him as of late because another problem occurring on the daily.
Starting the final act of Halloween Havoc VI: The 6 of Swords, the song “Talk About It Lata” caution that there’s consequences for people acting gangsta out in the streets while “Father Forgive” talks about him hoping that people will appreciate this last rush. “Happy Eyes Lie People” plays with the idea of him checking outta here for good & “What’s Your Purpose?” concludes by asking for our motives because those who don’t have one don’t have anything going for them.
With all of the praise I have for Lloyd Banks’ penmanship & I can appreciate him continuing the Halloween Havoc series because of the way shit’s been going for him, I feel like he needs to switch up his production a bit. No shade towards Haas Almahdi or Cartune Beatz because they’re both good dudes, but I’m confidently sure some of the greats like The Alchemist or Hit-Boy & Conductor Williams would love to work with him.
