Salt – “Salty n Lit” review

Salt is a 60 year old MC from Brooklyn, New York who became amongst the First Ladies of Rap Salt-n-Pepa alongside Pepa & DJ Spinderella back in the mid-80s. Outside of them dropping 5 full-lengths together in a little over a decade with last one being in 1997, they’ve also been embroiled in a copyright dispute with Universal Music Group since 2022 & were recently inducted into the Rock & Roll Hall of Fame last fall. However, neither of them until this point have gone solo & Salt’s taking it upon herself to be the first to do so.

After the “Long Game” intro, the opening track “Chosen” gets things poppin’ instrumentally bringing a Bay Area vibe to the table talking about her greatness whereas “Real One” embraces a funkier vibe flexing that she’s still nice with it after all this time away recording. “Diamonds in the Light” flips one of my favorite Jadakiss tracks “Still Feel Me” to discuss maintaining your inner peace leading into “No Crumbs” chops up a soul sample so she can talk about having unfinished business

“Kings & Queens” after a Chuck D interlude wraps up the 1st half with a 2nd single honoring hip hop culture’s historic origins in the east coast while “4 the Love” featuring Dee-1 soulfully kicks off the 2nd leg showing some love to the Nas joint “1 Mic”. We have Salt experimenting with R&B & trap on “Overcomers” asking where the ladies at for a summertime bop despite it being fall now & after the “Insecure” interlude, “Ride or Die” blends pop rap & trap for a decent romance anthem.

The spacious boom bap “My Team” reps her squad interpolating “My Chick Bad” by Ludacris & Nicki Minaj during the hook while “Poison Water” brings an aquatic trap flare to the table asking why this deadly form of rain’s been pouring down upon her. “Like Christ” feels less of an “interlude” & more of an undeveloped plea to become similar to Jesus just before the funky “All My Life” outro sends off Salty n Lit looking back at her career.

Similarly to Mike D of the Beastie Boys’ own solo debut Thank You last month, Salt gives the world a personal statement based on her life experience & who she has become for anyone who appreciates what Salt-n-Pepa have down for the culture without the need of a major label. There’s a heavy gospel influence to the production which can be inconsistent at points & more notably the guests, but it’d be interesting to hear if she makes anything going forward with bigger names joining her on the mic & behind the boards.

Score: 3/5

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Tee Grizzley – “They Forgot” review

Detroit, Michigan rapper & singer/songwriter Tee Grizzley ending the month with his 7th studio LP. Originally a member of the quartet ASBH, it wouldn’t be until 2016 where he would blow up off his first solo single “First Day Out” & earned a contract with 300 Entertainment. His profile would continue to grow by dropping projects like his debut mixtape My Moment, the debut album Activated, his 2nd tape Still My Moment, the Timbaland exec-produced sophomore effort Scriptures or my personal favorite: his 3rd mixtape The Smartest. Built for Whatever, Chapters of the Trenches, Half Tee, Half Beast & Tee’s Coney Island were generally mixed, coming off the sonically diverse Post Traumatic as well as Forever My Moment & the divisively received Street Psalms to admit he feels like They Forgot.

“99 Ovrall” sets the tone of what’s to come with this underwhelming intro getting on his gangsta shit whereas “Back ina Yams” made for a more uninteresting single confessing he doesn’t like being around these dudes who force his hand. “How” doesn’t make things any better trying to figure out the reason people don’t have any sort of appreciation towards him leading into “Locked Up in Mexico” talking about those he showed the road to paying no homage to him.

Meanwhile on “Orphan”, we have Grizzley comparing all these new Detroit rappers to his children even if I feel like it’s still lacking instrumentally just before “Snow Grass Leaves” talking about coming from a place where it he your own loved ones hurting you. “Detroit Public Schools” describes being overseas for an entire month & still turning out fine in the end until “Hard Times” featuring Hurricane Wisdom ends the 1st half talking about the struggles of poverty.

“Survival Skills” commences the 2nd leg of They Forgot speaking of having the expertise of surviving out in these Motor City streets while “Grizz They Need You” responds to those saying that the city needs him to talk to them regardless of the beat not being all that exciting. “No Effort 2” for a sequel to the My Moment track of the same name feels more half-assed than it’s predecessor while “Holding On” talks about problems only getting worse whenever money’s involved.

Winding down the last few moments of They Forgot, the song “It’s a Privilege” while “Robbery 10” contains one of the weaker entries in the titular series of tracks he’s been making since the 2020 COVID-19 pandemic when he should most likely hang it up here. “Rain” featuring Skilla Baby produced by Coupe & Hitmaka was easily the most gratifying instrumental here sampling “Rain on Me”by Ashanti for a pop rap single while “Finally Made It” ends the full-length talking about feeling like he’s become successful.

Street Psalms felt like a significant letdown compared to a great bulk of Tee Grizzley’s output throughout the course of the decade & I wouldn’t say They Forgot about him because he still has an impressive following, but rather than the quality of his music has been beginning to decline for the past year & this newest album makes another example of that containing the most uninteresting batch of production he’s ever rapped over.

Score: 2/5

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Zukenee – “Blunts & Blades” review

Brand new mixtape & the 3rd overall from Atlanta, Georgia rapper/producer Zukenee. Starting in the spring of 2021 off his debut EP Undiscovered, he would continue to make a name for himself in the underground by putting out a couple more EPs in Castle & Playful alongside the debut mixtape Stop Playing. Subsequent exclusive singles like “OJAYS” & “Chest” would later become amongst his best singles since both of them were released in the span of a year & a half preceding Player Slayer. Guillotine, Birth of St. Slay, Slaytanic, Knight Shift, Eye Love U, Zuminati & the Trapped in the Dungeon series have all followed since. B4BB came out over a week ago & the main course Blunts & Blades is here sooner than anticipated.

“Kelly Chanelly” opens up talking about feeling like a monster soon as he hops out of the Jeep over a minimally dark Cade beat whereas “Mixinggg” goes for more of a standard trap vibe instrumentally speaking of combining lean & xanax in his cup. “Break My Scale” talks about exposing all these bitch-ass wannabe thugs for who they are leading into “Calibrated” runs it back with Cade to flex he’s gotten so dirty, that his cleanliness has become an urgency.

As for “50+50”, we have Zukenee talking about spending hundreds of dollars on guns & drugs while “Walked Out” calls for all his young shooters to continue robbing all these pussy ass rappers. “Who DF” ends the 1st leg of Blunts & Blades talking about how it took him a long time to get to where he’s at in his career presently just before “Funky Monkey / Characteristics” kicks off the 2nd half with a 2-parter boasting of being the type to drop a bag & get it back.

“Kisses of Molly” keeps the tape going talking about all of his bitches keeping it solid & staying on some slick shit while the trap/pop rap single “?” asks what he’s supposed to do with his chopper. “Skreet Bitch” incorporates some chaotic synth melodies to break down his preference in women who got a little hood in them while “Face in Pillow” advises not to take it personally if he leaves & leads one one because he’s a youngin’ increasing his revenue.

The song “Jeffrey” talks about making deposits into his bank account every single morning when he wakes up & slimin’ muhfuckas like Young Thug while “French Tip” goes for a crunk sound so he can keep showing off his wealth. “Rags to Rick” produced by BNYX of Working on Dying was a great way to end Blunts & Blades, talking about going from not having shit to wearing Rick Owens & hoping this chick he considers the one doesn’t wind up lying to him.

Trapped in the Dungeon & it’s sequel each have some of Zukenee’s craziest songs yet like “Qooler” or “Start the Day”, but the disappointment I had for B4BB over a week earlier gets put to rest since I enjoyed a great deal of Blunts & Blades. It’s probably the most experimental thing he’s done so far with Cade’s 40% share of the production & the outro being the most enjoyable moments of the bunch, coming off the feature he did for KARRAHBOOO’s newest EP Not da 2 for his most gratifying 2026 offering & only drawing closer to the Cardo-produced Zudo.

Score: 3.5/5

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Yeat – “Cocoon” review

Portland, Oregon rapper Yeat dropping off his 8th extended play. Emerging in 2018 off his debut EP Deep Blue $trips, he’s been dominating the mainstream since 2021 whether it be him dropping a plethora of projects or receiving cosigns from the likes of Drake & Earl Sweatshirt. He eventually signed to Geffen Records, who backed his sophomore effort albeit major label debut 2 Alivë few years ago & its companionable deluxe EP Gëek Pack shortly after. Lyfë, Aftërlyfe, the experimental Capitol Records debut 2093, Lyfestylë, Dangerous Summer and A Dangerous Lyfë & A Dangerous Love all followed except Cocoon looks to make up for the latter’s disappointing reception.

“Earnëd It” kicks things off with this decent intro talking about buying his girl a Birkin bag & living like royalty whereas “In2That” flexes to find him where all the bitches are. “Miss My Dawg” was better than I had anticipated it being hopping over a Noel Cadastre instrumental calling for everyone who misses anyone in their lives that’ve passed away just before a favorite of mine “Luh Burk” produced by Trgc talks about giving this person a taste of fame since they’re never having it.

The song “Holy Watër” reunites with Internet Money Records in-house producer Synthetic so he can discuss splitting lids right when he pulls up to the spot leading into Trgc getting behind the boards for the title track talking about poppin’ out wearing all white when he began touring a month ago. “Tënnis” spends the remaining minutes of Cocoon going back-&-forth with this woman assuring her it ain’t as much of a game as she’d initially thought.

Yeat preludes his upcoming 7th album Reborn next year with an EP he made on the road that debunking the washed claims that were emerging when A Dangerous Lyfë & A Dangerous Love came out roughly 5 months earlier, which has me hoping this step in the right direction. It feels more aggressive & less commercial than the last full-length, revisiting his artistic origins rather than trying to make something that appealed more to the masses than his earlier stuff.

Score: 3.5/5

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Kurupt, Masta Killa & Rakim – “The Godbody LP” review

New collaborative full-length between Hawthorne, California by way of Philadelphia, Pennsylvania emcee Kurupt alongside Brooklyn, New York emcee Masta Killa & finally pioneering Long Island emcee/producer Rakim. All 3 of whom are notable in their own rights where it be Rakim being acknowledged as The God MC or Young Gotti & Jamel Irief coming up as members of Tha Dogg Pound & the almighty Wu-Tang Clan respectively. They linked up a couple years ago on the “Be Ill” single & that singlehandedly sparked interest in making The Godbody LP produced by Nick Wiz & Rakim under Holy Toledo Productions & Compound Interest Entertainment a reality.

“Goin’ Down” gets things started hopping over a sample-driven beat talking about wanting no parts with any of these fake ass rappers whereas “DPG Wu-Tang, Wu-Tang DPG” goes for a boom bap vibe instrumentally reminding the world exactly what they do best. “Rock Ya Body” by Tha Dogg Pound, Masta Killa, Ghostface Killah & Raekwon brings all 5 of them together over some horns for a hardcore hip hop skullsmasher leading into “Push the Button” getting on grown man time.

WWE Hall of Famer Snoop Dogg appears during the remix of “Rabbit” whipping up a west coast anthem suited for driving around in a low rider & after the “God Speak” interlude, “A Different Kind” by Rakim talks about The God being a whole breed of his own category. “Is It Love?” treads the symphonic boom bap waters topically demonstrating a more romantic side to them just before “Thelonius” featuring Buckshot, Rim & Trigga goes full rap rock so they talk about being the ones.

“Nights Over Brooklyn” by Masta Killa further embraces the rap rock elements recalling a lot of lives & souls being lost when the 80s crack epidemic happened while “Upstate Introspective” bittersweetly lets the most Wu’s most proficient affiliate Killa Sin spit a brief verse from a prison phone. “Still Ill” featuring Kool G Rap & KRS-One comes through with a worthy “Be Ill” sequel while “9 & Chrome Fiend” by Kurupt properly sends off The Godbody LP heavily sampling “Microphone Fiend”.

The Godbody LP was simultaneously built to showcase the diversity & versatility of Kurupt, Masta Killa & Rakim while simultaneously reshaping a vision the late 2Pac has prior to his death of bridging the east & the west coast for a planned album called 1 Nation that the Outlawz tried to recreate in 2021 preceding their disbandment following Young Noble’s passing. Hopefully this means we’re a step closer to the G.O.Ds Network (REB7RTH) sequel containing lesser guest appearances than its counterpart now that the mission of building upon mutual respect, legacy, uncompromising artistry & coastal unity was a success.

Score: 4/5

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Montener the Menace – “Mercurial” review

Croydon, South London, England, United Kingdom emcee, teacher & Hidden Hobby Records founder Montener the Menace back for his 3rd studio LP. Catching wind of him during the COVID-19 pandemic when he released his full-length debut I Have a Hidden Hobby, dude definitely proved himself lyrically even though it was overloaded with features & the production sorta sounded similar to one another. Coming off both Anyone Home? & The Miserable Git Next Door though, Mercurial has finally arrived almost 2 years since it was initially announced.

We get this soulful boom bap instrumental on the intro “Special” delivering this brief freestyle clocking at only a minute whereas “Tin Foil Hat” talks about his paranoia. “Lost & Found” featuring Blade, Farma G, Micall Parknsun & Verb T joins forces for a UK hip hop posse cut but once the chipmunk soul-inspired “Fight for Flight” talks about acute stress response, “The Devil Chose Me” featuring Jadakiss ends the 1st leg cautioning demons are coming.

“I Still Have a Hidden Hobby” kicks off the 2nd half with a sequel to his debut’s title track while “The Game” featuring A-F-R-O & Fashawn talks about only reciting heat when they take the mic. “Falling Down” fuses some kicks & snares with a pitched sample so Montener get in his conscious bag lyrically while “My Thoughts” featuring the late Chino XL & Keith Murray finds themselves wrapped up in their minds, “Dark Book” featuring Declaime & Ruste Juxx produced by DJ Sam Seed takes us where the light doesn’t go.

Hidden Hobby has slowly yet surely been on the verge of becoming one of the biggest underground labels in the entire UK hip hop scene potentially joining the likes of High Focus Records & Blah Records with all these artists/producers Montener the Menace has been signing putting out their own music through his imprint. Mercurial however raises anticipations for it’s sequel made whether it’s dropping in the next few months or 2027 with my favorite thing Montener’s ever made from the soulful boom bap production to the performances that he & the guests deliver.

Score: 4/5

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Chaka Khan – “Chakzilla” review

Chaka Khan is a 73 year old singer/songwriter from Chicago, Illinois who’s earned herself the title of the Queen of Funk after releasing Chaka, Naughty, Whatcha Gonna Do for Me?, self-titled, I Feel for You, Destiny, ck & The Woman I Am under Warner Records. I don’t even mind the NPG Records-backed Come 2 My House all that much either, considering it quite possibly her finest material since her Warner days. It’s been over 7 & a half years since Island Records dropped Hello Happiness & the iKhan Sounds founder’s going independent for her 13th studio LP.

The title track opens up singing about waiting for this moment her entire life & being a giant on top of a synth-funk, dance-pop & nu disco instrumental whereas “Boogie’s in My Soul” featuring WWE Hall of Famer Snoop Dogg comes through with a nu disco/dance-pop ode to Chaka & Melle Mel’s rendition of “I Feel for You” by the late Prince. “Curious Subject” embraces a synth-funk vibe singing about the friends she’s lost saying she has a lot going on & after “Cool You Down” featuring Sia teams up for a reggae duet regarding men who take their breath away, “I Know You Can” ends the 1st leg declaring herself to be the real one.

“Bring the Party” featuring Lenny Kravitz kicks off the 2nd half of Chakzilla warmly singing about today being all we have just before “Always Love the Challenge” reminds the world she likes it rough & her capability of maintaining her own balance. “Heart of Gold” brings some heavy synthesizers in the picture singing about a partner who she firmly believes is the one for her but once “Now & Forever” pleading for this person to become her man for all eternity, the outro “Dreamy Stuff” sends off Chakzilla

Regardless of the fact a great deal of Chaka Khan’s output for the past 4 decades has mostly been welcomed to lukewarm reception, I can definitely say Chakzilla makes some points in terms of the Rock & Roll Hall of Famer still having a place in today’s musical landscape even after becoming a spiritual guru hosting meditation sessions online becoming the most I’ve enjoyed a full-length from her since the underrated Come 2 My House. Greg Kurstin gives her some of the strongest production she’s had since being signed to the Purple One drawing inspiration from synth-funk, dance-pop, nu disco & reggae advising the world to find our power no matter where we’re at in our lives.

Score: 3.5/5

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Miley Cyrus – “Bass Persuades” review

This is the 10th studio LP from Franklin, Tennessee singer/songwriter, actress & director Miley Cyrus. Breaking out as the older sister of Noah Cyrus & the 2nd eldest daughter of Billy Ray Cyrus, she achieved greater success as the titular character on the The Walt Disney Company-owned Disney Channel teen sitcom Hannah Montana preceding her first 3 full-lengths Meet Miley Cyrus alongside Breakout & Can’t Be Tamed under Hollywood Records were equally met with mixed or negative reception. Same goes with The Time of Our Lives. Her debut for RCA Records during my junior year of high school Bangerz was when her music started to improve since I prefer songs like “#GetItRight” produced by The Neptunes over it’s biggest hit “Wrecking Ball”. Miley Cyrus & Her Dead Petz became a polarizing take on neo-psychedelia psychic pop even with The Flaming Lips’ involvement, Younger Now went for a mid country pop direction aside from a DJ Premier remix of the title track, She’s Coming missed the landing with R&B & electropop and Plastic Hearts was a decent way to fulfill her RCA contract following her divorce from Liam Hemsworth of the mid A24 Films thriller Cut Bank. Moving over to Columbia Records, her debut for them Endless Summer Vacation once again divided public opinion. Coming off the widely celebrated Something Beautiful, she’s signing to Atlantic Records for Bass Persuades.

The title track combines electropop, dance-pop electroclash, electro house & synthpop singing about putting our phones down & getting lost in the music whereas “Different Religion” featuring Model/Actriz teams up for a pop rock duet praying to a new God together. “Let’s Get Married” acknowledges her engagement to Maxx Morando last winter carrying over the pop rock vibes instrumentally & after “Orbit” sings about being swept off her feet around him, the dance-pop cut Aftermath” sends a clear message to Liam Hemsworth that she was never his.

“Redlights” further embraces a dance-pop style singing about fearing nothing & going where ever Maxx does while “Neon Signs” featuring Andrew Wyatt suggests they could keep each other company regardless of not being each other’s specific type treading the pop rock waters once more. “Innocent Ways” makes a public confession regarding her being better to her sister Noah following their reconciliation merely days before Dolly Parton’s passing & once “Snow” atmospherically standing at the edge of eternity falling similarly to snowflakes itself, “Smile” ends with a dance-pop cut Maxx’s smile getting her high.

Moving past the themes of rising above all the trauma in her life, Miley Cyrus’ debut for Atlantic unfortunately takes it back to the averageness that’s defined a great deal of the output in her historic career. Bass Pesuades’ production moderately caters more to pop rock, dance-pop, electropop, soft rock, alt-pop, electroclash, electro house & synthpop as opposed to the predecessor’s vast exploration of countless different sounds reflecting upon her current relationship with Maxx Morando & the love she’s found within herself.

Score: 3/5

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Beck – “Ride Lonesome” review

Beck is a 56 year old musician, singer/songwriter & producer from Los Angeles, California who released his full-length studio debut Golden Feelings & Stereopathetic Soulmanure independently until signing to DGC Records for his most celebrated opus Mellow Gold preceding 1 Foot in the Grave. Odelay, Mutations, Midnite Vultures, the Geffen Records-backed Sea Change, his Interscope Records debut Guero, The Information & the Danger Mouse-produced Modern Guilt were all equally praised although his ongoing Capitol Records tenure has been hit or miss. Coming off Morning Phase as well as Colors & the Pharrell-produced ハイパースペース, the Fonograf Records founder’s back for a self-produced 15th studio LP.

The title track combines singer/songwriter, contemporary folk, Americana & alt-country for a melancholic take on loneliness whereas “Run Away” pleads for this individual not to leave, assuring there won’t be anything left to say whenever the apocalypse comes. “In the Night” explores chamber folk, singer/songwriter, art pop, Americana, chamber pop & folk rock so he can sing about lost love while “Failed Words” yearns to turn the world back to be with this individual 1 last time.

“Disappearing Act” blends singer/songwriter, chamber folk & art pop for the 3rd & final single tackling the unknown just before “For Your Love” kicks off the 2nd half of the album incorporating some strings to sing about wandering ruins only because of the affection Beck has for this person waiting down in the lowlands. “Slow Canyon” acoustically continues from there yearning to meet his lover inside a hurricane while “It Ends Right Here” sings about putting a stop to the search for this person he’s addressing.

Winding down the last leg of Ride Lonesome, the song “Falling Through My Hands” gently describes this lover who Beck met at a point in his life where he felt like he was sinking considering her a martyr of the battle while the piano-driven “If You Don’t Know What Love Is” sings about not knowing anything at all in response to the idea of not understanding the concept of love itself. The closer “Beyond the Light” spends the last 5 & a half minutes taking inspiration from Americana again asking if his partner remembers the dying of the light when the sun set on their love.

Some people didn’t think Beck would make anything as great as Modern Guilt ever again considering the mixed reception of his output in the last 2 decades, but he finally did it with Ride Lonesome. His production ditches the synthpop, alt-pop, dream pop, neo-psychedelia & electropop experimentations of it’s predecessor in favor of embracing the sounds of alt-country, singer/songwriter, art pop, chamber folk, contemporary folk, Americana, chamber pop & folk rock reminiscent of Morning Phase & Sea Change’s rich atmospherics for a reflective return.

Score: 4.5/5

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Anthrax – “Cursum Perficio” review

Anthrax is a thrash metal band from Queens, New York consisting of rhythm guitarist Scott Ian, drummer Charlie Benante, bassist Frank Bello, lead guitarist Jon Donais & frontman Joey Belladonna. Making their full-length debut in 1984 with Fistful of Metal under Megaforce Records, the Island Records-backed sophomore effort Spread the Disease & Among the Living would both cement themselves as one of thrash’s Big 4 pioneers. State of Euphoria & Persistence of Time were both solid too although I can’t say the same for their Elektra Records debut Sound of White Noise or Stomp 442 & Volume 8: The Threat is Real. We’ve Come for You All was a tight return to form for them but coming off the superior Worship Music & For All Kings through Megaforce in tandem with Nuclear Blast Records, they’re reuniting for their 12th studio LP.

After the “Persistence of Memory” intro, “The Long Goodbye” opens up with an ode to Charlie’s father battling Alzheimer’s whereas “It’s For the Kids”combines thrash & groove metal so Joey can sing about always sticking to the plan without having to make any improvisations. “Everybody’s Got a Plan”swaps out the thrash elements in favor of a traditional heavy metal sound with a groove metal twist quoting WWE Hall of Famer Mike Tyson while “The Edge of Perfection” masterfully blends heavy metal, groove metal, thrash metal, progressive metal, blackgaze, black metal.

“NYC 93” enjoyably throws it back to the Sound of White Noise Days days which is widely accepted as the best of the 3 offerings to come outta the John Bush-era as someone who personally wasn’t a fan of that point in the band’s career while the title track sings about reaching the end of a journey. “T.O.M.B.” poses the question of what could go wrong after stealing silver from the eyes of a dead man & after the thrashy “Watch It Go” sings about bartering evil as necessary by any means, “My Victory” concludes Cursum Perficiopondering if one can win the hearts & minds with or without them.

There were some concerns whether or not Anthrax was gonna hang it up after Cursum Perficio until Charlie Benante confirmed that wasn’t the case but nevertheless, I can confidently place this decade-long comeback above Worship to hold the bragging rights of being the finest material they’ve made this century. They threw out a bunch of old tunes they’ve already had since at least 2023 & made some new ones inspired by thrash metal, groove metal, heavy metal, progressive metal, blackgaze & black metal documenting their entire journey to stardom.

Score: 4/5

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