Lucy Bedroque – “c” review

This is the sophomore effort from Los Angeles, California rapper, songwriter & producer Lucy Bedroque. One of the most prolific members of the lumina collective, their full-length solo debut Sisterhood in the summer of 2023 has quickly become a digicore standout. Coming off the Amy & Fête de la Vanille extended plays alongside their widely celebrated deadAir Records debut Unmusique, lostrushi’s dropping the inaugural entry of the c trilogy ahead of an upcoming tour.

“All Speakers Go to Heaven” hops over a rage beat talking about his bitch making hoes disappear whereas the self-produced “9th Circle” leans towards a digicore vibe responding to all the people who think they ain’t with the shits when that couldn’t be any more false. “Speed Demon” produced by Ginseng takes a more melodic approach so Lucy can talk about fame & touring just before “Stone in Focus” flips the Aphex Twin track of the same name seeing this person in their core lies.

As for “Miss Behavior”, we have Lucy pleading for this person not to depend on them & getting ready to spend a check because they have too much guap leading into “B.Y.O.B.” turns up the hypertrap influences asking how they hear one’s rage only for it to leave them yawning outta boredom. “Orochimaru” digs up a loosie that came out on SoundCloud this past February talking about doing better by a landslide while “Married to My Jeweler” ends the 1st half advising that fucking over the bros is against principle.

“C Section” combines digicore, cloud rap, jerk, lowend, rage, pop rap & plugg talking about how they haven’t dropped in 9 months when Unmusique was 16 months earlier while “Co Poison” wants to know what the fuck’s up with everyone hating them over a rage beat. “Safespace” brings the digicore elements back in the picture talking about moving forward regardless of nowhere being safe while “Zygote” condemns ICE in the midst of recalling meeting a nerdy woman discussing the cells formed via fertilization.

The song “SSJ2” talks about one’s lies catching up to them & declining an ex’s pleas of wanting Lucy back in their life while “Erase Your Social” blends jerk, digicore, cloud rap, pop rap & plugg to talk about racism, issues with women & their rise in popularity. “Peace in Pandemonium” has a repetitive songwriting structure to it asking for this person who’s no longer in their life for some closer & the rage-inducing “Blackpink Yzy” ends cshouting out Ye formerly known as Kanye West.

I’m sure we’ll get Musique, Svelte Child, Vanilla & Null by Design at some point but the inaugural entry of this ongoing c saga further cements Lucy Bedroque amongst the most interesting artists in the underground trap scene. They take a backseat from the groundbreaking rage production pulls secondary influences from digicore, pop rap, cloud rap, jerk, lowend & plugg to focus on their focused melodic performances to prepare for c² & c³ carrying the series on in their own ways.

Score: 4.5/5

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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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Eastside Ninjas – “The Return of the Lotus” review

This is the sophomore effort from Detroit, Michigan quartet the Eastside Ninjas comprised of Jamie Madrox, Monoxide, Blaze Ya Dead Homie & Anybody Killa. All 4 of whom broke out after the Insane Clown Posse signed them to Psychopathic Records in the late 90s/early 2000s, they would eventually form a Pact of the 4 following the formation of their own labels Majik Ninja Entertainment, Grundy Entertainment & Native World Inc. respectively. A Return of the Lotus was announced this summer & was highly skeptical because 2 of the most important petals being missing.

After the intro, “Shadow” produced by Fritz the Cat & Grady Finch combines trap & rock so they can spit the wicked shit talking about death still following them whereas “Eradicate” embraces a darker atmosphere instrumentally admitting to being no good. “Wolves” discusses being left to die only for them to survive an encounter with a pack of carnivorous mammals just before “All of My Words” continues from there finding the Ninjas pleading for the universe to lift this curse off their intestines.

“Resilience” reaching the midway point of the LP showing strength of spirit in their characters when being spoken down upon leading into “Mummified” turning the rap rock influences up so they talk about not being free as long as their corpses are hanging on. “Thoughts Lethal” keeps the guitars in tact breaking down their individually fatal minds while the only single “I Kill ‘Em Better” decently talks about the animalistic monster living within every single one of us.

The song “More Like Control” speaks of never giving up regardless of all the nonsense people would like to try sellin’ ‘em while the rap rock-tinged “Down 4 Life” poses the question of whether or not people would still support them after the situation with Majik Ninja’s ties to Psychopathic being severed almost a decade ago & as much as some would like to say yes, this album has caused reasonably more alienation than their 2020 attempt at reviving the Psychopathic Rydas. “Walking Disaster” spends the last 4 minutes talking about things not going their way with those they used to follow.

I really hope neither Twiztid or Drive-By take my criticisms of The Return of the Lotus personally because as someone who’s always stuck by them after leaving Psychopathic over a decade ago, this feels like an Eastside Ninjas sophomore effort that’s more wicked than the Pact of the 4 because it truly isn’t Dark Lotus without ICP hence why it could likely become the worst entry in MNE’s catalog. Outside of excluding Juggalo Championship Wrestling (JCW) Commissioner Violent J & the shortest reigning JCW World Juggalo Heavyweight Champion Shaggy 2 Dope’s crucial roles for obvious reasons or even the tolerable production, it’s simply no different than when D-Loc dropped that 25 to Life solo album under the Kottonmouth Kings name.

Score: 1.5/5

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Ibibio Sound Machine – “Chopping Mountain” review

This is the 6th studio LP from London, England, United Kingdom afro-funk band Ibibio Sound Machine comprised of frontwoman Eno Williams, guitarist Alfred Bannerman, percussionist Afla Sackey, drummer Joseph Amoako, bassist Philip Ambrose, trombonist/keyboardist Tony Hayden, trumpeter/keyboardist Scott Baylis & saxophonist/keyboardist Max Grunhard. Introducing themselves a decade ago on the eponymous debut, they would show some growth on the sophomore effort Uyai & Doko Mien was merely ok. Electricity couple years ago on the contrary surpassed Uyai as the band’s crowning achievement in their discography, coming off Pull the Rope to outdo themselves with Chopping Mountain.

“Burning in Lagos” kicks things off with this 7 minute intro singing about her head being filled with circles of sleeping whereas the title track goes for a synth funk vibe to emerge from the surface after being reborn underwater like a phoenix rising. “When You Want to Dance” sings about having to synchronize if one wants to get down on the dance floors & after the 2nd single “Concept of Love” treads the synth funk waters again ponders how others interpret affection, the lead single “Return to Sender” recalls a car accident Eno was involved in.

We have Dele Sosimi appearing on “Give Me Peace” singing about being granted freedom over laid-back instrumentation to open up the 2nd half while “Menso” embraces some makossa vibes asking in Ibibio what’s wrong using a call-&-response delivery. “Love” pleads if Eno & her partner can try being 1 over a funky beat but once “Kukuru” embraces a more tropical sound to sing about accumulation, the closing track “River Don’t Rush” ends the album wondering why people worry over things they can’t control.

Chopping Mountain could likely be the weakest entry in Ibibio Sound Machine’s discography since Doko Mien considering I enjoyed it less than Pull the Rope although I’m confident of them having the capability of making something that’ll stand the test of time like Electricity. The electro, Afro-funk, synth funk & Afrobeat production along with the prevalent themes of love, unity & resistance that’ve always defined the band remain unbothered despite there being some points where Eno Williams’ vocals don’t do much.

Score: 3/5

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Rio da Yung O.G. – “The World is Yours” review

M.I.N.E. Entertainment founder Rio da Yung O.G. straight outta Flint, Michigan back for a sophomore effort. Breaking through the local trap scene during the latter portion of the previous decade under the mentorship of Peezy signing to #Boyz Entertainment in tandem with EMPIRE Distribution, he has since put out his last 9 EPs as well as a full-length debut album & a handful of collaborative projects under his belt all over the duration of 7 years. Rio Circa 2020 was a solid EP celebrating his 30th birthday but coming off Rio Free & F.L.I.NT. (Feel Like I’m Not Through), he wants everyone to know The World is Yours.

“Be Like Me” sets the tone of what’s to come with this Flint trap intro talking about everyone else wanting to be inside of his shoes whereas “Superstar” featuring Veeze finds the pair over a Detroit tap instrumental depicting gangsta rap imagery in their own distinctive fashions. “Lemme Guess” makes a number of assumptions ranging from a woman getting sexually involved with another guy to helping a couple get rich while “Laced Blunts” featuring Trippie Redd poses the question of whether one’s slime or not.

F1LTHY of Working on Dying gets behind the boards for one of my favorite tracks here “Lost My Voice” flexing that he’s talked so much shit to there point where his voice gave out while “Canal St.” discusses having nothing but blue strips on him. “Easter Pink” featuring Rylo Rodriguez links up so they can decently talk about the lean in their cups while “100% Alcohol” vents over a woman getting drunk off some Mexican shit asking all sorts of stupid questions.

“Button Up” featuring RMC Mike reminds the world of what makes them amongst Flint’s most beloved duos spitting straight bars without the need of a hook while “Milwaukee Bucks” produced by Danny G was another highlight talking about chasing the cheese despite not being a snitch. “Finna Drop (Tour)” hits the midway point of the album remaining hood despite him leaving Flint years ago while “Rocks Off” featuring Judah Weston teams up so they can decent get sexual.

YN Jay appears on “New York Minute” running it back with F1LTHY boasting of being the wealthiest to ever come out of their city while “Work Different” warns that getting on his bad side would be stupid as fuck. “Crooked Elbow” featuring the current 2-time WWE United States Champion Trick Williams’ manager Lil Yachty & Tierra Whack finds all 3 of them getting hardcore while “Peach Nehi” over some pianos & bells talking about dudes being sweeter than licorice.

“Kinda Anxious” talks about how he smells like a scald weighing a brick while “Not the Best Liar” admits that he isn’t the greatest at lying. “Get It Back (Zoom Meeting)” chops up a vocal sample continuing to depict the gangsta lifestyle while “Who Did the Body?” featuring Monaleo talks about applying pressure. “Douchebag” makes a clear distinction of being a boss instead of someone contemptible while “Okay wit Dat” talks about never being broke as long as his phone’s functioning.

This guy’s steadily been on the most prolific run of his whole career ever since coming home a few years back & The World is Yours keeps Rio da Yung O.G.’s consistency streak alive recording a majority of it in the middle of an ongoing tour in promotion for the very album capturing his grind & artistic evolution in the middle of keeping the unfiltered style of lyricism he’s become known for as nasty as he’d prefer it to alongside a respectable cast of big names joining him.

Score: 3.5/5

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Jerry – “Gayngsta” review

This is the 3rd studio LP from Trenton, New Jersey emcee, singer/songwriter, producer & music video director Jerry. You may know him for coming up as 1/2 of the duo MellowHype alongside Left Brain in the mid/late 2000s under the original moniker Hodgy Beats prior to helping I Smell Panties, Casey Veggies & The Jet Age of Tomorrow form the impactful albeit now defunct alternative hip hop collective Odd Future. He was also the first person in the Wolf Gang to put out a solo effort, dropping his debut mixtape The Dena Tape only 9 months after the crew put out their 1st tape as a unit The Odd Future Tape. Higashi Miyagi would go on to expand his solo discography with 2 more mixtapes & 3 EPs prior to his full-length debut Fireplace: TheNotTheOtherSide a day before my 20th birthday which to this day, I still think it’s possibly the most criminally overlooked offering that we’ve gotten since OF’s disbandment due to how much growth was shown on that album. Entitled was a solid comeback experimenting with contemporary R&B on top of a predominant west coast trap sound, coming off the singer/songwriter explorations of lovemesooner & No Receipt to get in his Gayngsta shit.

After the intro, the title track hops over a bell-woven trap beat so he can talk about being a G whereas “lose your mind” goes for a melodic approach in terms of delivery acknowledging his awareness of this woman doing her best. “slickrick” comes through with more energetic rap verses over a synth-driven instrumental talking about a swindler trying to get shit outta him just before “options” confronts a woman for calling him selfish when he helped her move out the country.

“halloween” chaotically talks about needing the pressure since he’s on the verge of exploding whole “vvs” atmospherically shows off his singing chops once again recalling a woman going away after saying the wrong thing. “pay mee” reaches the midway point of Gayngsta talking about taking whatever he wants in a robbery watching out for schemin’ bitches & double teamers while “W.W.J.D. (What Would Jesus Do?)” includes a line homaging the late, great MF DOOM & talks about running the block so long he’s reached O.G. status.

Continuing the 2nd half, “UK” experiments with a UK drill sound warning that he’ll run up in the flats of anyone disrespecting his family while “wrong” psychedelically confronts a woman who he believes is worth his time although that might not be the case. “skid row” talks about experiencing this world until he died, reaching his prime in his mid-30s & muhfuckas being straight up bums while “east orange” brings some rage vibes to the table reminding everyone of his New Jersey origins.

“heart open” winds down the last few moments of Gayngsta singing about love once more on top of this glitchy beat while “lil bop” cloudily describes a woman who gets dicked down constantly & being content with her running around the streets as long as she isn’t a thot. “n.g.c.o. (not getting cheated on)” talks about going out with a smile on his face & denying the implications of his partner being unfaithful to him while “fairy” ends the album assuring that he doesn’t have anything to worry over.

Jerry himself confirmed at the beginning of the week that he would no longer be rapping because he hasn’t felt inspired to continue making music in that vein for some time, which already seemed apparent when lovemesooner & No Receipt both came out. But unfortunately, Gayngsta doesn’t leave much of a lasting impression on me compared to Fireplace: TheNotTheOtherSide or even the untitled EPs & both installments of The Dena Tape series. Sure it’s bittersweet to hear him making 1 last hip hop offering until fully embracing the singer/songwriter in him, I was admittedly expecting more out of the production.

Score: 2.5/5

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Jhené Aiko – “Westside Whimsy” review

Jhené Aiko is a 38 year old singer/songwriter, musician & producer from Los Angeles, California who was supposed to debut in the early 2000s until Epic Records shelved her. She would eventually return in 2011 when I was in 8th grade for her debut mixtape Sailing Soul(s), which resulted in No I.D. signing her to his Def Jam Recordings imprint ARTium Recordings. She has since become the label’s most prominent artist following her debut extended play Sail Out, her full-length debut Souled Out, the sophomore effort Trip & lastly Chilombo only a week prior to the 2020 COVID-19 pandemic taking full effect.

After the “Wild Cat(s)” intro, “Ghost” opens up with this moody instrumental singing about being in a loop whereas “Break” made for a decent alternative R&B single telling Big Sean to take his time upon their split after being together for a decade. I was disappointed Ab-Soul only did ad-libs instead of having a verse on “Love Bomb” although Jhené does holds it down well by herself singing about getting active until “Ceiling” freestyles over a summery boom bap beat cautioning she’s the bitch you shouldn’t do wrong.

“Nothing Nice to Say” explains the very reason she hasn’t been quiet in the midst of someone lying straight to her face just before “He Belongs” instrumentally brings a woodwind in the picture singing about a man who fits in with every woman he meets & everyone else except her. “Like, Whatever” featuring Tyga pretty much encapsulates my feelings towards the latter’s verse & the worst guest appearance here while “You” sings about having a million reasons why this dude isn’t the guy.

To bridge Westside Whimsy, we have Jhené advising “Don’t Be That Guy” taking it back to the boom bap vibes explored earlier leading into “Lullaby” going full alternative R&B again singing about how she’d rather close her eyes than leave his side. “Neighbors” featuring her new partner Larry June blends PBR&B with hip hop expressing the love at first sight they had for one another while “Mine” produced by Boi-1da & PARTYNEXTDOOR sings about feeling happy being with Larry.

“So Good” featuring Kendrick Lamar trades verses over one of the absolute smoothest beats Sounwave has ever made playing off each other perfectly while “Beach Boy” sings about needing a person who knows how to ride when the tide’s too high in the evening. “Unicorn” asks if it would be lovely if she & Larry had their own paradise likening their love to an island only they can go to while “I Don’t Mind” sings about feeling the envy of others whenever she steps inside the room.

The song “Nami’s Haiku” dedicates a brief collection of short form poetry to her daughter & eldest child Namiko Browner over a spacious alternative R&B beat while “A Living Light” takes some more stripped-back approach in terms of sound singing about dying at night only to be reborn in the morning right when the sun comes up. The closing track “Golden Coast” featuring nu jazz duo OHMA spends Westside Whimsy’s remaining minutes telling this individual shining through their darkest nights that they still have plenty of light left.

Confessing the reason it took so long for Jhené Aiko to come back was because life knocked her on her ass, Westside Whimsy still remains a solid comeback regardless of it not reaching the same pedestal Souled Out had when she has the capability of surpassing it. The neo-soul, alternative/contemporary R&B, pop rap & smooth soul production feels grounded in her west coast origins recapping everything that’s happened to her since COVID with a guest list who mostly deliver other than only 1 blatant exception.

Score: 3.5/5

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9 Vicious – “Sedition” review

Here we have the 2nd mixtape from Atlanta, Georgia rapper & producer 9 Vicious. Breaking out in 2024 off the single “U Fancy” despite releasing his debut tape Naz in 2020, he would go on to further introduce himself on B4SA & the full-length debut Studio Addict helped him gain more exposure to the point where Young Thug signed him to YSL Records after B4TM dropped & Tumblr Music wasn’t that bad of a debut for the label other than “Clout Demons”. B4FN & For Nothing have both become the best things he’s made since the YSL deal, leaving when the Uy Scuti Bøyz consisting of diamond* & Tezzus signed. B4EM & Emotions were both welcomed to mixed reception, coming off his beef with che & Ken Carson recently dissing him to drop Sedition ahead of Sex Money Power & Life’s Beautiful.

“Anytime” begins with a rage beat from Patrick Garza for some mediocre gangsta rap bars whereas “Cracker” obnoxiously talks about him having sex with a white person. “Mind Racing” rambles on regarding a woman who he’s constantly thinking of & claiming to be the biggest in the game leading into “Sing to Your Heart” includes a hilarious bar about him having a good heart considering all of the controversies he’s constantly getting himself in.

As much as I love Patrick’s instrumental on “Roq & Kobe”, I can’t say the same for 9’s lyrics claiming to be freakier than Kevin Gates or having a girl who “eat the dick like a big back” while “Classy Girls” preludes Sex Money Power in the midst of talking about his women having class. “Stranger Things” denies OsamaSon’s claims that he pulled up to his house to end the 1st half of the tape while “Ace & Nicky / Casino” opens up the 2nd leg with a 2-parter.

“Chateau Moment” talks about pulling up to the wedding venue out in Clayton County with a bunch of hoes by his side while “Zone 3” splits itself into 2 separate portions touching base regarding his wealth. “Fuck Flags” responds to the backlash he got for waiving an Israeli flag onstage at a show in Prague a couple months ago while “U.O.E.N.O.” featuring NDO D homages the Rocko single of the same name that came out back when I was in high school.

The song “Sardinia” winds down Sedition’s final moments talking about being out in Italy with his toes out & a couple baddies accompanying him while “Go Bestie” produced by R8 of Vanguard Music Group discusses having sex in the back of a car & spending 20 in exchange for a neck piece. “To Be Continued” sends off the tape with 1 last 2-parter talking about all of his struggles fading away whenever he looks in the eyes of his partner & encouraging her not to let anyone else convince her she isn’t the biggest.

It is somewhat refreshing for 9 Vicious to let Patrick Garza handle most of the cloudy trap/rage production aside from R8 doing the last couple joints & a few other exceptions but unfortunately, Sedition doesn’t stick out any more than Emotions did although in no way shape or form does that imply that I’m looking forward to Sex Money Power whether it drops within the newest or in 2027 mostly because of the below average songwriting & of course his antics.

Score: 1.5/5

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Tha God Fahim – “Lethal Weapon 5” review

Yes, we have a new extended play & the 76th overall from Atlanta, Georgia emcee/producer Tha God Fahim. Starting as an affiliate of Griselda Records & being 1/3 of the Dump Gawds alongside Mach-Hommy & Your Old Droog, we also can’t ignore the massive discography that he’s managed to build for himself, some of the standouts include Breaking Through tha Van Allen Belts & Dump Assassins. He’s been putting out amongst his best material in the past few years like the Camoflauge Monk-produced Dark Shogunn Assassin, the Nature Sounds-backed Iron Bull, the Nicholas Craven-produced Dump Gawd: Shot Clock King tetralogy, the Oh No-produced Berserko, the Mike Shabb-produced Dump Gawd: Rhyme Pays, Tha Supreme Hoarder of All Pristine Wealth, Supreme Dump Legend: Soul Cook Saga produced by Cookin’ Soul, Machine Gun Vocabulary produced by Cartune Beatz, Slam Dump alongside it’s sequel, the self-produced Ultimate Rapper 5000 Guillotine & of course the historic Dump Gawd: Hyperbolic Time Chamber Rap anthology. However, he’s running it back with Drega33 for a 5th installment of the Lethal Weapon series.

“Lethal Weapon” hooks up a sample-driven boom bap instrumental talking about haters trying to decline the mastermind now that he’s been reactivated whereas “Vega” strips the drums to explain his whole function being leaving deathtrap in both the rap game & the trap. “All I Know” expresses his desire of trying to make millions & the wrong move resulting in facing time while “Times of War” soulfully talks about harmony coming before conflict sometimes.

Kicking off the 2nd half, “Verses N Curses” continues the sampling so Fahim can sling lightning while “New Life” featuring Jay NiCE jazzily talks about doing this shit for the next generation. “Stimulate the Mind” treads the drumlessly jazzy, soulful waters speaking of keeping his head high because he’s the chosen one until “Wear Fear n Love” concludes Lethal Weapon 5 talking about defining greatness as opposed to it defining him.

It’ll be almost 7 months since I last covered Tha God Fahim when Slam Dump 2 came out, which I’m not gonna beat around the bush admitting the reasons for being because neither The Blacker the Berry or Tha Nighthawk Chapter impressed me like his past material AND I felt like a break having reviewed him literally dozens of times in only a few years. Lethal Weapon 5 on the contrary has me more optimistic of his output ahead of Fanonmenal later this month from the improved production to the focused performances.

Score: 4/5

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