長谷川白紙 – 「素直な気持ち」レビュー

Here is the 4th studio LP from Tokyo, Japan singer/songwriter Hakushi Hasegawa. Making their full-length studio debut in 2019 with Air Ni Ni following their first couple of extended plays iPhone 6+ & Sōmoku Hōdō, the sophomore effort I’m Dead! would come out in 2023 & impressed the Los Angeles, California producer Flying Lotus so much to the point where he signed them to Brainfeeder Records distributed by Ninja Tune. Mahōgakkō has since become some of the label’s greatest material ever recorded & have returned 25 months later to give their Honest Feeling.

“Little Briar Rose” takes inspiration from the fairy tale of the same name singing about a century-long dream being fun to have & after the 40 second “Gettinhereroute” intermission, “Nausea” continues the glitchy jazz vibes assuring the story will always stick with you no matter where one goes. “Boss-Moire-FS” takes a more chaotic approach for the musical equivalent of a panic attack layering these spoken word bits & saxophone while “We the Ominous Warriors” abstractly sings about being in a messy kiss state.

We have Hakushi on “Why the Hell Do I Have to Say Everything From 1 to 10 Each Time Each Time Each Time Each Time?” manically explaining that anyone who doesn’t have a thumb buddy is a nobody just before the lead single “The Owner of Sweetness” blends shimokita-kei, indie rock, glitch pop, deconstructed club, pop punk, noise rock, slacker rock & noise pop singing about hopes of returning to an ungastropodish place. “Grace” later combines glitch pop, art pop, electro-industrial, deconstructed club, avant-garde jazz, epic collage, electro-industrial, industrial rock, experimental rock & tearout brostop for an eclectic 3rd & final single.

“Thief Cat Thief” after “The-End-FS” intermission embraces a quirkier sound singing about Don Planta’s book not being here because they already replaced it while “Suffocation Diary” after the “Permanent-Trompe l’Oeil-FS” interlude fuses indietronica, alt-pop, alternative R&B, neo-psychedelia, glitch pop & alté shouting out the late SOPHIE amongst others including Arca. “Witchkeeper” dabbles with spoken word for a few minutes over these strumming acoustics & once “Vanilla Value” colorfully suggests their ending would be a suitable finale, “Never Lack Nothing” sends off Hakushi’s boldest statement yet singing about being the decorators of the blackout curtain.

Honest Feeling further validates Hakushi Hasegawa as one of the most exciting artists in on Brainfeeder & could very likely become the imprint’s strongest release this year. Their glitch pop, experimental, art pop, avant-garde jazz, glitch, deconstructed club, avant-prog, nu jazz, jazz-rock, indietronica, alt-pop, alternative r&b, neo-psychedelia, glitch pop, alté, shimokita-kei, indie rock, pop punk, noise rock, slacker rock, noise pop, electro-industrial, industrial rock, experimental rock & tearout brostop feels more expansive than Mahōgakkō in time for the season of flutter arriving thanks to her new live band Haha & the Hairpins.

Score: 4/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

Majid Jordan – “2 Roads” review

Toronto, Ontario, Canada alternative R&B duo Majid Jordan consisting of singer Majid Al Maskati & producer Jordan Ullman are back for their 5th studio LP. Forming in 2011, it wasn’t until a couple years later when 40 signed them to OVO Sound & was featured on their mentor Drake’s hit single “Hold On, We’re Going Home”. Their 2nd extended play A Place Like This stood tall as the best project in their catalog until their previous full-length Good People dropped in the fall of 2023, finding them stuck between 2 Roads hours after former 2-time TNA Knockouts World Tag Team Champion Maggie Lee became the inaugural TNA Knockouts Television Champion in Brampton.

“Have I Gone Too Far?” made for a cloudy alternative R&B intro singing about a woman giving Majid a broken heart in exchange for more than love whereas “Cold” blends PBR&B with synthpop demanding an answer regarding why he feels so alone. “Strangers” moodily sings about a couple being newcomers to each other in an alternate universe “Rich Man” expresses the desire of living in a crazy world & being in this woman’s arms makes him feel wealthy.

Continuing from there, “Rather Be with You” sings about wanting to cancel his plans & become a better man with his soulmate by his side just before “See You Again” goes for a more standard alternative R&B vibe promising to do anything to see this woman smiling again. “Dream” sings about only wanting what’s best for him & his lover leading into “Best Behaviour” featuring Clementine Douglas kicking off the 2nd half with a duet depicting a couple surrounding each other.

“Things Just Feel Better” maintains an atmospheric tone singing about everything improving around Majid when his partner’s around him while “The Reason” dabbles with trap soul letting this female know she’s exactly why he popped out for the evening. “Look What You’ve Done” confronts a girl who he believes is the cause of making him lose his entire sense of self while “Island Time” sings about making love in the evening like it’s all they know although I was disappointed at Naomi Sharon doing background vocals instead of having a verse.

The song “Every Last Bit of My Love” pens an open letter to someone he’s missing more & more by the day sending her all the affection he has in his might to make her feel like he’s there with her while “Thank You” sings about the gratitude he has for this person cherishing him, realizing this relationship was eternally meant to be. The harmoniously stripped-back title track ends 2 Roads assuring the limits you can bear & how to persevere will be learned sooner rather than later.

If Good People was the album Majid Jordan needed to rival the extended play they put out prior to being signed, then 2 Roads returns to the averageness that has defined a great bulk of the material they’ve made since joining the OVO roster over a decade earlier. Jordan Ullman’s production incorporates secondary influences of synthpop along with new jack swing & soft rock into the pairing’s signature alternative R&B sound with Majid Al Maskati either relishing in infatuation or wallowing in heartache.

Score: 3/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

Fat Joe – “Organized Rhyme” review

The Bronx, New York emcee, songwriter & actor Fat Joe back for his 12th studio LP. A member of D.I.T.C. & the Terror Squad, his first 3 albums Represent, J.O.E. (Jealous Ones Envy) & Don Cartagena are considered by many to be the best in his discography. However, much of his output since then has been either hit or miss from the underrated The Elephant in the Room to the horrendous J.O.S.E. 2 (Jealous Ones Still Envy 2). Cool & Dre produced the What Would Big Do? EP few years back & that was the most I’ve enjoyed Joey Crack’s music in a while, so them producing Organized Rhyme had me knowing I’d like it more than The World Changed on Me.

After the “Narcos” intro, “2 Plots” opens up on some soulful shit talking about never losing whereas “The Aroma” featuring Jadakiss & Stove God Cook$ finds the trio on some mobster shit having the ability to smell the product off the coast & referencing the late WWE Hall of Famer Muhammad Ali. After the “Coach Mike Brown” interlude, “Victory Lap (Him)” featuring Jadakiss & Yung Miami samples “Victory” by Puff Daddy & the late Notorious B.I.G. to get celebratory while “Back It Up” comes through with a mediocre strip club ode.

“Heavy Price to Pay (Chef’s Kiss)” co-produced by Mike Dean incorporates more sampling chops talking about the money coming with a tax while “Dead or Alive” featuring Remy Ma boasts top 5 status although the auto-tuned hook wasn’t good. “Not Goin’” produced by STREETRUNNER talks about not fallin’ for bullshit & after “Set of Keys” featuring Pusha T gets on some coke shit, “Feelin’ a Way” discusses having the world in his palms. “They Wanna Know” lastly ends Organized Rhyme answering some questions people have had.

Seems like Cool & Dre heard what many including myself had to say regarding them producing over half of The World Changed on Me because them handling Organized Rhyme’s beats gives us some of the most enjoyable music Fat Joe has made in years & that shouldn’t be a surprise considering their previous output in recent memory. The list of guests has been minimized to a respectably brief number, the production hits harder & Joey Crack takes it back to his roots for a little over a half hour.

Score: 4/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

Prince – “Timeless” review

Prince was a 57 year old singer/songwriter, musician, producer, dancer, actor & filmmaker from Minneapolis, Minnesota known for pioneering the Minneapolis sound. Dirty Mind, 1999, the soundtrack to his theatrical debut Purple Rain, Around the World in a Day & Sign “☮︎” the Times under Warner Records would all become some of the 80’s most celebrated material although The Gold Experience through his own label NPG Records can certainly hang with them. This spring marked a whole decade already since his passing & his estate has dug up his 2nd posthumous solo LP albeit the 42nd in his deeply massive discography succeeding Welcome 2 America.

“I Am You” opens up with this soulfully funky intro interestingly dating back to the For You sessions pleading for his lover to stay whereas “Heaven” comes through with an Around the World in a Day outtake singing about the pearly gates coming to Earth itself. “I Wonder” was recorded around the same time as the soundtrack to Batman & the soundtrack to Graffiti Bridge respectively pondering if this woman really knows how much he loves her while “With This Tear” covers the Céline Dion track of the same name.

Kicking off the 2nd half, “Stone” keeps it funky asking who can say why he & this woman are cold with nothing left just before “Calabama” predates the n•e•w•s sessions for a disco/pop rap crossover having all the ladies clapping their hands. “The Guilty Ones” embraces a funk rock direction singing about winning people over without having to say a single word while “Bestest Friend” sends off Timeless addressing someone he once considered an extremely close ally, proclaiming every painter needs a muse.

Timeless retains the same lasting power Welcome 2 America had showcasing the extraordinary consistency, curiosity & creative ambition that defined Prince’s work throughout his life tracing his remarkable artistic evolution across nearly 4 decades from his teenage prodigy days to one of his last recorded performances. Neither Piano & a Microphone 1983 or Originals count as posthumous albums since both of those were comprised of demos, but this 2nd rare opportunity of hearing previously unheard chapters of his creative journey makes you miss him more varying between pop rock, contemporary R&B, funk rock, synth funk, dance-pop & none other than the Minneapolis sound.

Score: 3.5/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

Wyclef Jean – “Quantum Leap 2: Q Theory” review

Newark, New Jersey by way of Croix-des-Bouquets, Haiti rapper, singer/songwriter & producer Wyclef Jean continuing the Quantum Leap series with his 4th extended play. Beginning his career as 1/3 of the Fugees, he has since spent the last 3 decades following their initial disbandment carving a path for himself as a solo artist dropping a couple of extended plays along with 8 full-length studio albums & 3 mixtapes. Kicking off the 7-part Quantum Leap saga with Clef Notes taking it back to Clef’s hip hop roots in addition to announcing a Fugees reunion this summer, Quantum Leap 2: Q Theory looks to tread jazzier waters instrumentally.

“Rocinha” featuring saxophonist Godwin Louis, pianist Robert Glasper & organist Patrick Pelissier opens up with a 6 minute intro that feels infectiously rhythmic whereas “Lady Havana” featuring pianist Axel Tosca, trumpeter Theo Croker, drummer Yussef Dayes & percussionist Yiyi Sanchez finds the quintet that has a more calmer vibe than the previous track. “Silk & Sand” featuring trumpeter Jean Caze & djembefola Weedie Braimah takes a more tropical approach in terms of style just before “French Quarter” featuring Niia with drums supplied Harvey Mason comes through with a passable vocal duet.

Bradford Hayes plays the saxophone during “Pegasus” once again shifting focus towards the compositional side of things for a laidback tune while “Farafina” featuring pianist Arden Altino & flautist Elena Pinderhughes brings Robert Glasper back on the keys for a more tender jam. “Sugarcane & Watermelon” might be my least favorite track here since the percussion takes up a bulk of the spotlight but after “Harlem Nights” turns up the grooviness with some melodic background vocals, “Touissant Louverture” finishes Quantum Leap 2: Q Theory with a 4 minute outro inspired by the most prominent leader of the Haitian Revolution.

This whole saga was said to explore a different genre with each installment & I completely understand why Wyclef Jean took it back to the first language he knew before anyone knew who he was for the Clef Notes sequel since the inaugural entry was hip hop-oriented: Jazz music. Introducing the world to his jazz fusion band Rara Jazz comprised of veterans & newer voices, Quantum Leap 2: Q Theory versatilely continues to slowly but surely remind everyone of his artistic range setting up for wherever the next chapter goes.

Score: 3.5/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

Abi & Alan – “Before the World Blows” review

Abi & Alan are a superduo consisting of Dallas, Texas singer/songwriter, producer, DJ & actress Erykah Badualongside Beverly Hills, California producer, DJ & emcee The Alchemist. One of whom because the Queen of Neo-Soul off Baduizm & Mama’s Gun while the other is one of my top 10 producers of all-time. They haven’t worked directly with one another until now, but Badu’s independent debut following Control Freaq Records’ new distribution deal with Young Recordings coming in the form of their full-length studio debut was a more than welcoming celebration of her freedom from Motown Records.

“Echos” begins with a powerful ode to black resilience over this hypnotic instrumental backing her whereas “I Just Play a Part” featuring Creole Princess continues the atmospheric soundscapes so both of them can discuss being who others wish they were. “Crossfade” gives off a smoky neo-soul vibe singing for this guy to no longer seek love from her just before the 2nd single “Witch Doctor” blends neo-soul with psychedelic soul, progressive soul, tribal ambient & bend-skin to portray herself as a natural healer.

D.R.A.M. appears on “Valentine” describing a woman who’s attracted to a fuckboy in disguise until the lead single “Next 2 U” samples “The Realest” by Mobb Deep featuring Kool G Rap which a lot of people hated even though I didn’t seem to care because Uncle Al produced that too. “Love Me Not” lusciously comes through asking her partner if their relationship was a game to him while “Breezy” reaches the halfway point describing a lady who enjoys parting by herself.

“To the Moon / Plan C” featuring Steve Lacy after the “Abracadabra” interlude kicks off the 2nd leg with an astonishing 2-parter finding 2 lovers settling down since life will always come by quickly while “They Ain’t You” pretty much sings about sticking out amongst the other fish in the sea. “What the People Say (Apostle 1)” hops over a colorful boom bap beat dismissing whatever opinions others hold regarding her while “Hot BiBi (Apostle 2)” picks up where the previous track left off raising the pitch of her voice for a couple minutes.

Westside Gunn pops out during “No I.D.” shouting out the Chicago veteran himself, his mentee Ye formerly known as Kanye West, Pharrell, the late J Dilla, DJ Premier & Dr. Dre in case neither of them can get a hold of Uncle Al while “I Know That Man” by Earl Sweatshirt talks about desiring to be seen as good in the eyes of that which created us. “Black Box” sends off up Before the World Blows with this jazzy closer taking a spoken word approach in terms of delivery.

Originally announced last summer, Abi & Alan finally make up for the delays their debut suffered because of their initial distribution deal with EMPIRE falling apart uniting 2 of the greatest in their friends for the first time ever making some of the most potent R&B music of 2026. Alchemist’s production fuses neo-soul, hip hop, conscious hip hop, psychedelic soul, progressive soul, tribal ambient & bend-skin contemplating which parts of ourselves & our stories are worth protecting Before the World Blows.

Score: 4.5/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

Queen Herawin – “D.O.T.O.M. (Death Of The Old Me)” review

This is the 3rd studio LP from Bronx, New York emcee Queen Herawin. A member of the Juggaknots, she eventually went on to drop an EP The Space Between Things following her debut Metamorphosis & appeared on Vinnie Paz’ 5th album as above so below only a month away from the world changing forever because of the pandemic. Coming off the sophomore effort Awaken the Sleeping Giant distributed by Coalmine Records however, P.A. Dre’s being brought in to soundtrack D.O.T.O.M. (Death Of The Old Me).

After the “Into the Water” intro, “Diver” featuring Helixx C. Armageddon spends the opening 7 minutes talking about the time of alchemizing the void finally arriving whereas “Torch” featuring Breeze Brewin’ embraces a cloudy boom bap vibe instrumentally so both of them can discuss the responsibilities of the rap game not being ready to passed down yet. “Lucid Dream” blends a flute with kicks & snares asking what it really means to be alive while “Daydreaming” mellowly reflects back upon a place she used to know.

“Big O” featuring Tef Poe brings some rock undertones in the picture telling a hood romance story leading into the guitar-woven “Fever” passionately singing about 2 souls who yearn to be closer to each other. “Criminal” asks if she’s lying to herself from an opportunity of shifting towards something bigger just before “Sage” featuring Bernadette Price ends the 1st half having both ladies over a trap beat suggests sitting back & watching shit get crazy when the negative energy’s cleared.

After the “Soft” interlude, “Full Throttle” featuring King Jnus finds the pair getting the 2nd leg going hopping over a soulful trap instrumental depicting a couple nobody can fuck with while “Manifesto” featuring Ruste Juxx returns to the boom bap so they can lay out their policy statements on wax. “Together” featuring Rhymefest was unexpected considering the latter’s lack of musical activity in recent memory although I appreciated both of them talking about their immortality combined.

Unlearn the World appears on “Cook” talking about plucking the feathers outta every single one of these culture vultures prior to roasting them at the cookout while “Burn” featuring Nejma Nefertiti ruggedly speaks of having money to light on fire, which is why they even came in the first place. The closing track “Phoenix” spends the remaining minutes of D.O.T.O.M. (Death Of The Old Me) telling her late mother she doesn’t have to fight anymore.

Awaken the Sleeping Giant faced all the emotions that she had turned a blind eye to & in contrast, D.O.T.O.M. (Death Of The Old Me) embraces a new era of Queen Herawin’s career with what I consider my favorite full-length of the 3 she’s given us in a decade spotlighting this new version of herself. There’s most consistency within P.A. Dre’s production than the predecessor tackling themes of release, renewal, transformation & the beauty that can emerge in the space between letting go & becoming.

Score: 4/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

Lancey Foux – “The Time of Our Lives” review

Lancey Foux is a 30 year old rapper, singer/songwriter, producer, model & designer from Stratford, London, England, United Kingdom who made his full-length debut Pink back in 2015. He has since dropped 6 more full-lengths along with 5 mixtapes & an EP, with both Friend or Foux & Life in Hell each being singled out as his most widely celebrated material. However now that he’s signed to RCA Records, I had a good feeling his 8th studio LP & major label debut would be a huge milestone for him.

“Reap What You Sow” begins talking about the fast life feeling slow to him as well as being out of control & being soulless whereas the rage-inducing “Seeing to It” discusses his wealth. “To the Money” featuring Finessekid finds the pair poppin’ out to see if the women they’re romantically involved with truly love them or not leading into “Lingo Bingo” treads the hypertrap waters once again talking about keeping 1 in the hat for him & holdin’ a check for him.

Bugz Ronin & Skaiwater cook up one of my favorite instrumentals on the album with “Who Do You Love?” talking about being the one this female wants while “Change Your Mind” talks about having the ability of making a chick reconsider riding for him until the wheels fall off since she can’t take her eyes off him. “Naked on a Yacht” takes the plugg route speaking of having a girl & her friend in their birthday suits on a boat while “All My Girls” talks about every single one of his hoes doing the most for him.

“Rockstar Rider” hops over a self-produced rage/jerk beat playin’ it cool whilst stacking up money once again while “All the Time” comes through with a celebratory 2-parter because he’s always catching Ws & betting this baddie she won’t wait for the sun to come up. “Wait for the Sun (Sugar)” appropriately continues from there asking his partner why she has to leave while “I Don’t Wanna Know” kicks off the 2nd leg deciding he has no interest in hearing lies.

As for “Miss the Night”, we have Lancey confessing of thinking about an ex accepting he’s been so lost ever since the breakup along with figuring out where they went wrong while “Body” combines pop rap & alternative R&B with synth-funk talking about a woman he can’t stop dealing with. The energizing “Tell ‘Em Who It Is” proclaims himself “Mr. Never Miss” for a boss bitch he takes charge for while “Therapist” talks about not needing therapy because he’s in the mirror with the truth.

“When It Rains It Pours” admits he had to learn the game the hard way & being a made man while “Trying My Best” talks about attempting to find himself again when he feels dead inside. “Everything Works Out” assures all problems will eventually sort itself out when they’re all sidelined & after “A Whole Lot” talks about everything he has going for him, the outro “Porsche Poet” sends off The Time of Our Lives sampling “Soul Mates” by Q.T. Hush featuring the late Teena Marie planning this out from the get go.

Sometimes whenever an artist signs to a major label, they end up not seeing the same success of being independent because their entire style gets watered down but thankfully The Time of Our Lives simultaneously stays true to who Lancey Foux has always been & steps out of his comfort zone more than he has in the past. The captivatingly creative trap, pop rap, rage & alternative R&B production explores some new sounds & the songwriting’s some of his most honest, detailing his lived experiences & asking whether or not his 20s were enjoyable.

Score: 3.5/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

Lex Walton – “Ultimate Love Forever” review

This is the 9th studio LP from Pleasant Hill, California singer/songwriter & actress Lex Walton. In almost a decade, she has dropped a total of 8 full-lengths & 4 extended plays including the Shame Music series as well as Girlfriends & most notably I Want You to Kill Me. I was however interested in learning that Ultimate Love Forever would reach the same pedestal the previously mentioned album did upon learning she had signed to the prominent Seattle, Washington indie label Sub Pop Records after her apartment had tragically burned down.

“For Thee I Sing” begins with this slacker rock intro interpolating “My Country, ’Tis of Thee” Samuel Francis Smith & discussing the US enacting fascist overreach whereas “Hipster Runoff” gives off a garage rock revival vibe critiquing Gavin McInnes. “Yr Op-Ed Won’t Get You Into Heaven Anymore” includes an insane guitar solo towards the end after downing some bourbon while “USA = Fag Nation” suggests the world would be a better place if different people got shot.

Continuing the 2nd half of Ultimate Love Forever, the song “I Wish I Was an M80” sings about alienation blending slacker rock with indietronica & power pop while the lo-fi singer/songwriter crossover “Adrian Borland Will Have His Revenge on London” confesses she was on the verge of death when writing this. The title track properly concludes Ultimate Love Forever singing about the only thing she wants being a kind of affection that would last eternally.

I Want You to Kill Me still remains the most groundbreaking statement in Lex Walton’s decade-long career, but her Sub Pop debut Ultimate Love Forever will certainly appeal to fans of Jonathan Richman’s early material with The Modern Lovers from the mid-70s to late 80s or either one of the 2 extended plays Dollhouse have put out this decade. The slacker rock, noise pop, power pop, garage rock revival, noise rock, singer/songwriter & dance-punk revival production basically providing commentary on society’s decay from the perspective of a transgender woman living in a transphobic America.

Score: 4/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

Busta Rhymes – “Dillagence II” review

This is the long-delayed 12th studio LP from Brooklyn, New York emcee, songwriter, producer & actor Busta Rhymes. A member of the Leaders of the New School, he would go on to turn heads in the spring of ‘92 off the strength of his verse on “Scenario” off of A Tribe Called Quest’s flawless sophomore effort The Low End Theory. The dragon would see greater success as a solo artist with full-lengths like The Coming, When Disaster Strikes…, E.L.E. (Extinction Level Event): The Final World Front, Anarchy, Genesis & The Big Bang. However when E.L.E. 2 (Extinction Level Event 2): The Wrath of God dropped Devil’s Night 2020, it would find Busta returning to form considering the mixed to subpar reception of B.O.M.B.S. (Back On My Bullshit) & the panned Year of the Dragon backed by Cash Money Records. Blockbusta preluded by The Fuse is Lit were both treated to mixed-to-negative responses, looking to redeem himself with Dillagence II.

After the “Ma Dukes Speak Again” intro, “How the Boss Will Deliver” opens up with a ferocious 81 second freestyle preceding “Entry” featuring La Reezy joining forces over a boom bap instrumental laughing off the dummies going up against them. The lead single “Spazzz” co-produced by Black Milk & Kev Brown splits itself in 3 different sections for more hardcore penmanship while “Back Pain, Chest Pain, Head Pain” climbs another mountain in the midst of traumatizing people.

“Royalty” featuring Cie & Trillian finds the trio talking about there never being another version of either of them over a colorful boom bap beat just before the subdued “This Woman” featuring a hook from the late D’Angelo takes a more romantic approach conceptually & does it without sounding forced. “Shoo” returns to the boom bap tellin’ all these wack rappers they straight up need to get the fuck out the culture leading into the soulfully jazzy “Drugs” solely produced by Karriem Riggins likens his music to that of an addictive substance.

After the “Story of the Old Man” interlude, “Run ‘Em Down” gets the 2nd half going reminding the world who he is while “Lay Down” featuring T3 has him & Busta in their energetic hardcore bag together. “Wait 4 U” featuring Big Sean & Honey Bxby gets back on the pop rap tip although it’s one of the weaker tracks in the few exploring that style while “Kingpin (Knock Ya Head Off) featuring Anderson .Paak & Ludacris necessarily turns the aggressiveness back up.

“How You Want It” winds down the final act of Dillagence II making sure everything remains raw both lyrically & instrumentally while “Love & War” featuring Talib Kweli freestyles over “I Must Love You” by Guilty Simpson off his 2008 debut Ode to the Ghetto. The 2nd & final single “Talk Shit”featuring Lil Wayne samples “I Know You Got Soul”by Bobby Byrd featuring James Brown for a superior “Nirvana (Hello)” remix while “What We Got in Common” featuring Common preceding the “Ma Dukes & J Dilla’s Closing Word” outro wraps it all up with a 6 & a half minute closer.

Confirming the rumors of J Dilla giving Busta Rhymes over 300 beats prior to his passing, I’m happy he makes up for the excessive commercialization that made Blockbusta so disappointing & his sequel to the Dillagence mixtape would be placed above it’s predecessor for the best in the series in addition to being a step in the right direction for him like E.L.E. 2 (Extinction Level Event 2): The Wrath of God was 6 years earlier. He’s not trying too hard to appeal to a younger crowd like the previous album did, having a more consistent guest list joining him to bring their A-game over Dilla production.

Score: 4/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!